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School of Music U N C G Tuesday, October 23 Preview Concert 12:30 pm West Market United Methodist Church “Tuesday Music” Series free Amy Dissanayake presents a selection of concert rags and tangos for piano 5:00 pm - Anders Åstrand, Workshop with Jazz Combo Room 140, free Concert I UNCG School of Music Recital Hall 7:30 pm $10/6/4/3 Abraham’s Eyes Were Darkened (2004) Benjamin Broening (b. 1967) UNCG Chamber Singers; Welborn Young, director Sonia Archer-Capuzzo, clarinet Kate Forman, bass clarinet Clarke Carriker, harp Joshua Bateson and Stephanie Sanders, percusison Sun Dance (2005) Matthew Quayle (b. 1976) Susan Fancher and Steve Stusek, alto saxophone Ināra Zandmane, piano Ragtime Set Graceful Ghost Rag (1970) William Bolcom (b. 1938) In Stride (2003) John Musto (b. 1954) Rozology (2000) John Halle Carnaval Noir Derek Bermel (b. 1967) Amy Dissanayake, piano Intermission Vamoalzamendi 2 Alejandro Rutty (b. 1967) Lorena Guillén, soprano Ballad I Norr Anders Åstrand (b. 1962) Anders Åstrand, vibraphone Mr. Groove Anders Åstrand Anders Åstrand, marimba Wednesday, October 24 10:00 - Rodney Waschka, Music and Theatricks Room 224, free Music and Theatricks Theatrics, n. 1. Of, relating to, or suitable for dramatic performance or the theater. 2. Marked by exaggerated self-display and unnatural behavior; affectedly dramatic. (American Heritage Dictionary) This talk will attempt to explain something about the composer's use of "tricks" of different types to handle the theatrical aspects of his music. Examples will be drawn from a variety of works including solo pieces, a trio (to be performed on the Wednesday night concert) a woodwind quintet, and the composer's trilogy of operas. Questions and comments welcomed. 12:00 - Anders Åstrand Rehearsal with Jazz Band Room 111, free 1:00 - Ivica Ico Bukvic, Beyond Computer Music - Reshaping Contemporary Arts through Technology Computer Lab - Room 116, free Beyond Computer Music—Reshaping Contemporary Arts through Technology The fate of Computer Music and technology are hopelessly intertwined. Although Computer Music genre is a relative newcomer to the Arts scene, its brief history, akin to that of computer-age technology, paints an image of a resilient and malleable form of art. In what appears to be one of many breakthroughs to come, this ongoing symbiosis has in recent years led towards a total breakdown of traditional boundaries that have for centuries served as bastions of art disciplines and their unique identities. This new intermedia kind of Art begs for a homo universalis, a person who is a polymath, a generalist, or a “jack of all trades.” Terms that used to bear negative connotations (especially for those seeking tenure), now paint a picture of a modern artist who seeks proficiency in multiple areas including music, visual arts, computer science and technology, theatre, and many more. We now face an age of multidisciplinarity in which ironically academia, arguably the very birthplace of the genre, continues to struggle with restructuring to address challenges and opportunities Interactive Multimedia Art has to offer. 2:00-4:00 - Anders Åstrand, Percussion Workshop Room 140, free Student Composers Concert Wednesday, October 24 UNCG School of Music Recital Hall 4:00 pm free Three Short Movements for Violin and Piano Kathleen Bader I. Walking II. Waiting III. Winding Wayne Reich, violin Ināra Zandmane, piano Regulated Action (2006) Braxton Sherouse I. springs II. just harmonics III. Coarse Tuning IV. the woodpecker octave V. monochromatic Amy Dissanayake, piano Fantasia per oboe e Electro (2007) Daniel Pappas Thomas Pappas, oboe with digital media Piano Suite Matthew Phelps I. II. III. Samee Griffith, piano Eternal Enamor Andrew Hannon I. Playful II. Fragile and Delicate III. Brash and Aggressive Ian Jeffress, soprano saxophone Aimee Fincher, piano Hagar’s Prayer Amy Scurria Sarah Love Taylor, mezzo-soprano Wayne Bennett, trumpet Amy Scurria, piano Reduce, Reuse, Recycle (2007) Alex Kotch Gina Pezzoli, violoncello Alex Kotch, bass clarinet Samee Griffith, piano Piano Sonata Paul Leary I. Homage to Linkin Park Paul Leary, piano with digital media Concert II Wednesday, October 24 UNCG School of Music Recital Hall 7:30 pm $10/6/4/3 Notturno Samantha DiRosa, video Ryan Hare (b. 1970), music Arioso/Doubles (2002) Benjamin Broening (b. 1967) Anthony Taylor, clarinet Good Luck and Bad Luck Rodney Waschka UNCG Contemporary Players Andrés Mila-Prats, coach Laura Pollard, flute Michael Dwinell, oboe Carlos Fuentes, piano Tango Set Septangle (1984) Frederic Rzewski (b. 1938) Piglia (2001) Pablo Ortiz (b. 1956) Tangrango, (Being a Brief Identity Crisis for Piano Solo) (1998) Hayes Biggs (b. 1957) Tandy’s Tango (1992) Lou Harrison (1917-2003) Tango? (1983) Conlon Nancarrow (1912-1997) Amy Dissanayake, piano Intermission Out of Doors Suite Part 2 (2003) Ivica Ico Bukvic, video and music (b. 1976) Mysterious Morning III Fuminori Tanada (b. 1961) Steve Stusek, soprano saxophone Piano Etudes David Rakowski (b. 1959) 40 Strident (2002, stride piano etude) 22 Schnozzage (1999, etude for melody in the nose) 41 Bop It (2002, bop etude) 14 Martler (1997, crossing hands etude) Amy Dissanayake, piano Free Improvisation/Jam Anders Åstrand, Amy Dissanayake and friends Thursday, October 25 UNCG School of Music 10:00-12:00 Composers Reading Session with Amy Dissanayake Recital Hall, free Works by UNCG student composers Minjeong Kim, Daniel Travis Clem, Michael Cummings, Matt Kalb, and Matt Johnson 1:00-2:30 Piano Masterclass with Amy Dissanayake Organ Hall, free 3:00-3:45 Shawn Okpebholo, Circleplay: Composer as Collaborator with Anthony Taylor, clarinet Room 223, free 4:00-5:00 Benjamin Broening, Speech, Sound, and Meaning in Alvin Lucier’s I am sitting in a room Composition History and Theory Lecture Series Room 217, free Speech, Sound and Meaning in Alvin Lucier’s I am sitting in a room Alvin Lucier’s 1969 landmark piece I am sitting in a room opens with a recording of Lucier reading a description of the means of the work’s realization. The piece unfolds according to the instructions offered at the piece’s opening: thirty-two iterations of the spoken text slowly transform from intelligible, if flawed, speech, into sustained and slowly changing pitches over the course of forty-five minutes. In this paper I use spectrograms to examine the process by which Lucier’s speech is transformed in two realizations of the work and compare the interactions of speech, sound, meaning and compositional process to works with voice on tape by Reich and Berio. Concert III Thursday, October 25 Weatherspoon Art Museum free 5:30 Reception 6:00 Bill Fontana 6:30 Time to go into installation/more Reception 7:00 Concert Weatherspoon Auditorium: In Two Worlds Morton Subotnick (b. 1933) Susan Fancher, alto saxophone Remarks by Judith Shatin Penelope’s Song Judith Shatin, music Kathy Aoki and Marco Marquez, video Susan Fancher soprano saxophone Break Weatherspoon Atrium: Energy Drink III Mark Engebretson (b. 1964) Scott Rawls, viola Circleplay Shawn Okpebholo (b. 1981) Anthony Taylor, clarinet L’accordeoniste Alejandro Rutty (b. 1967) EastWind Ensemble Mary Ashley Barret, oboe Kelly Burke, clarinet and bass clarinet Steve Stusek, saxophone Michael Burns, bassoon COMPOSERS/VIDEO ARTISTS AND PROGRAM NOTES Kathy Aoki received her MFA in printmaking from Washington University in St. Louis in 1994. Since then she has worked as a professional artist and teacher, exhibiting her prints, paintings, and sculptures at such venues as San Francisco, New York, Minneapolis, Los Angeles, Quito Ecuador, and Kobe, Japan. Permanent collections include SFMOMA, the Harvard University Art Museums, and the City of Seattle. This is her second animation project with composer Judith Shatin, whom she met during an artist residency at the MacDowell Colony. Aoki is currently an assistant professor of studio art at Santa Clara University, where she teaches computer arts. (see notes for Penelope’s Song under Judith Shatin) As a mallet specialist, Anders Åstrand regularly performs recitals and gives clinics throughout the US and Europe, both as a soloist and together with his percussion ensemble Global Percussion Network. Anders Åstrand has several times performed at PASIC (Percussive Arts Society International Convention). In his compositions, Åstrand focuses on improvisation as an essential feature for soloists as well as the ensemble. In addition to mallet music, Åstrand has been commissioned to compose for brass quintets, saxophone quartet, choirs, and big band. A more spectacular side features compositions for ice instruments to be performed by percussion ensemble (one of the concerts also featured fighter aircraft as instruments), tractors, and an entire building being inaugurated. Åstrand has also composed music for multimedia performances including dance, video projections, ice instruments, and fire sculptures. Anders Åstrand is a member of several groups: Global Percussion Network with Rolf Landberg, Daniel Saur, Anders Åstrand (mallet instruments and percussion), and Tomas Bohlin (sound creator). GPN is a groove-oriented percussion keyboard ensemble, performing unlimited music. Together with organist Mattias Wager in a duo, using free improvisation as the means to create dynamic, musical experiments. Cashew with Michael Gould (drums), Miles Osland (saxophone), Brad Townsend (bass), and Anders Åstrand (vibraphone and marimba) features original, powerful, expressive music. Sven Åberg (lute, theorbo) and Anders Åstrand (vibraphone, marimba, percussion) meet occasionally in various projects, e.g. a portrait of the German philosopher Ludwig Wittgenstein, and as the musical configuration of mathematics in a seminar on the Legacy of Mathematics. Ballad i Norr written in January I think it was 1990 in the night after a long day of teaching and it was really crazy cold. So, standing in the percussion room and improvising this tune came up. Mr Groove was inspired from a new series of mallets I just got sent to me. This piece came up; it was a nice groove to get these mallets! Kathleen Bader primarily grew up in the crowded spaces of the Northeast (Massachusetts and Pennsylvania) where she developed a taste for the flat expanse and solitude of deserts. She finally got to spend a significant amount of time in one when she received the Martin Dale fellowship from Princeton University, a fellowship that allowed her to write music in Arizona, hermit-style. Her vision is still adjusting from the horizontal orientation of deserts to the vertical direction of forests – she is now discovering the beauty to these tall, thick trees while studying here in North Carolina. Now a second year student in composition at Duke University, she is studying with Steve Jaffe, Scott Lindroth and Anthony Kelley. In 2004 she received her BA at Princeton University after working with Steve Mackey and Paul Lansky. I wrote the material for Three Short Movements for Violin and Piano at around the same time that I was taking a course in introductory drawing. In my drawing class, we often warmed up by doing quick figural sketches – we were given thirty seconds to convey a specific pose or movement as effectively as possible. In my training as a musician, there hasn’t been a complement to this type of exercise (in my experience, composition is often a painstakingly slow and meticulous process). However, the temporal aspect of these drawing exercises inspired me in a roundabout way, especially when thinking about what movement means in the visual arts versus what it means in music. In the visual arts, the movement of the artist during the process is often tangible. When looking at these figural sketches, you can sense the brevity of the process and the speed at which the artist moved - this brevity gives each sketch a certain concentrated energy, even if the pose or motion depicted is rather sedate. Unfortunately, I have not yet been able to compose any music of value in thirty seconds, so I wanted to achieve this energy of brevity in another way. As such, I made sure to keep each movement rather short so that the sense of mood and/or motion behind each movement would be experienced in a similarly concentrated way. Described as "an eclectic with wide open ears ," Derek Bermel has been widely hailed by colleagues, critics, and audiences across the globe for his creativity and theatricality as a composer of chamber, symphonic, dance, theater, and pop works, and his virtuosity and charisma as a clarinetist, conductor, and jazz and rock musician. He studied ethnomusicology and orchestration in Jerusalem, and later traveled to Bulgaria to study the Thracian folk style, Dublin to study uillean pipes, and Ghana to study the Lobi xylophone. From the complex Bulgarian melodies in Tied Shifts, to Irish bagpipes coupled by Led Zepplin-inspired riffs in Voices, Bermel infuses his music with the rhythms and inflections of myriad folk traditions while maintaining a sophisticated and distinctive style of orchestration, harmony, and counterpoint.Bermel's many awards include the Rome Prize, Guggenheim and Fulbright Fellowships, awards from the American Academy of Arts and Letters and Faber Music. His music is published by Peermusic Classical (US) and Faber Music (UK). Hayes Biggs was born in Huntsville, Alabama, in 1957 and raised in Helena, Arkansas. He holds a doctor of musical arts degree in composition from Columbia University, a master of music degree from Southern Methodist University, and a bachelor of music degree in piano performance from Rhodes College. His teachers have included Mario Davidovsky, Jack Beeson, Fred Lerdahl, Donald Erb, and Don Freund. Biggs has been a fellow in composition at the Composers Conference and Chamber Music Center at Wellesley, at the Tanglewood Music Center, at Yaddo, and at the MacDowell Colony. In 1995 he was the recipient of a Fromm Foundation Commission to compose a work for Parnassus, When you are reminded by the instruments, which was premiered by that ensemble in March 1997. He was named a recipient of a John Simon Guggenheim Memorial Fellowship for the academic year 1998–99. Recently he was honored by an entry in the New Grove Dictionary of Music and Musicians, 2nd Edition, and he was named as one of five composers to receive a 2001 Aaron Copland Award. This award carries with it the opportunity for a residency at the Aaron Copland House in upstate New York for several weeks next year, where he will be free to devote himself entirely to composition. From 1991-2001 he was associate editor at C. F. Peters Corporation, and since 1992 he has been on the faculty of Manhattan School of Music. Most recently he has been awarded a commission by the American Composers Forum and the Mary Flagler Cary Charitable Trust to compose a group of haiku settings for the vocal quartet Kiitos. Professor William Bolcom, recipient of the 1988 Pulitzer Prize for Music, has received commissions from the Vienna Philharmonic (Salzburg Mozarteum), Philadelphia Orchestra, New York Philharmonic, Berlin Domaine Musical, Saarlandischer Rundfunk, American Composers Orchestra, Saint Louis, National, Pacific and Boston Symphonies, The MET Orchestra, Lyric Opera of Chicago, Mendelssohn Quartet, cellist Yo-Yo Ma, violinist Nadja Salerno-Sonnenberg, mezzo-soprano Marilyn Horne, and many others. As piano soloist, accompanist (primarily with his wife, mezzo-soprano and School of Music, Theatre & Dance faculty member, Joan Morris), and composer, Professor Bolcom is represented on recordings for Nonesuch, Deutsche Grammophon, RCA, CBS, MHS, Arabesque, Jazzology, Vox, Advance, CRI, Phillips, Laurel, First Edition, Newport Classics, Omega, Vanguard, Argo, Koch Classics, Crystal, New World, Centaur, Folkways, Naxos, and many others. He joined the University of Michigan faculty in 1973, was the 1977 recipient of the Henry Russel Award and the 1997 Henry Russell Lectureship, and was appointed Ross Lee Finney Distinguished Professor of Composition in 1994. Benjamin Broening is a composer of acoustic and electroacoustic music. His numerous commissions include works for the Charlotte Symphony, the Choral Arts Society of Philadelphia, the Band and Orchestral Division of Yamaha Corporation of America, the Arts Now Series at North Carolina State University, the James River Singers among many others. A recipient of the Presser Music Award, Broening has also received recognition and awards from the American Composers Forum, Virginia Commission for the Arts and the Fulbright Foundation. His music has been recorded on the Centaur, everglade, Equilibrium, MIT Press and SEAMUS labels. Broening is founder and artistic director of Third Practice, an annual festival of electroacoustic music at the University of Richmond, where he is Associate Professor of Music. He holds degrees from the University of Michigan, Cambridge University, Yale University, and Wesleyan University. In Fear and Trembling, Kierkegaard uses the story of Abraham and Isaac to explore the idea of faith. Genesis provides the broad outlines of the narrative but doesn’t say much about what each of those involved were thinking or feeling. Kierkegaard fills that void by imagining the reactions of Abraham and Isaac four different ways. Abraham’s Eyes Were Darkened is a setting of the second of those re-imaginings. In this version of the story, Kierkegaard imagines the effect on Abraham: “From that time on Abraham became old, he could not forget that God had required this of him. Isaac throve as before, but Abraham's eyes were darkened, and he knew joy no more.” Abraham’s Eyes Were Darkened was commissioned by the James River Singers, Jeffrey Riehl, director. Arioso/Doubles (2002) was commissioned for Arthur Campbell by the Band and Orchestral Division of the Yamaha Corporation of America. Its title reflects the piece's indebtedness to vocal music and to 17th century opera in particular. The piece is not meant to evoke the harmonic or stylistic language of early-to-mid 17th Italian opera. Rather, the title refers to changing nature of the melodic line that moves fluidly among declamatory or recitative-like passages, short melodic phrases and longer, more strongly characterized lines. Arioso/Doubles is the third work in a series of pieces for solo instrument and computer. Doubles is a term used in 17th and early 18th century French music for a technique of variation in which more or less elaborate ornamentation is added to the original melody, while the supporting harmonies remain constant. The Doubles series takes this idea as its starting point and applies the variation technique to the timbre of the soloist as well as the pitched material. The computer also responds to the clarinet’s music; sometimes confirming (doubling) and summarizing, sometimes extending, altering or recontextualizing the clarinet’s melodic and harmonic material. The art of composer and multimedia sculptor Ivica Ico Bukvic (b.1976) is defined by the ubiquitous interactivity. Fueled by a synergistic outlook, his work is a balancing act between scientific research of new multimedia technologies for the purpose of betterment of the overall quality of life and a pursuit of new forms of artistic expression using newfound technologies. This passion for art and technology coupled by a traditional music background has empowered him to defy preexisting forms and even challenge the very foundations, yet do so without sacrificing their lasting appeal. His opus encompasses aural and visual, acoustic and electronic, performances and installations. In part supported by grants, commissions, and awards (ASCAP, SEAMUS, SAI, Upbeat, VT CLAHS), his creations have received international exposure through music festivals (ICMC, SEAMUS, Spark, FEMF, CMS, EMM, IEMF, LAC, MusicX, OCEAn, gmem), radio stations, concerts, and Internet. His research (including grants from UC UGS, VT CEUT, VT CLAHS, ISCE, VT Foundation, Croatian Ministry of Science, Education, and Sports) has produced a number of software contributions to the multimedia art community (RTMix, RTcmix instruments, Soundmesh, Superkaramba, Pure-Data, Max/MSP) and has been published in journals, magazines, and conference proceedings, such as Organised Sound, Spark, LAC, ICMC, Linux User & Developer, and Array. Ico maintains an active career as a scholar and researcher; prior to joining Virginia Tech, he taught at the Oberlin College, Cincinnati’s College-Conservatory of Music (CCM), and has served as a visiting lecturer at various festivals and workshops. As the author of the first-of-a-kind "Linux & Multimedia" curriculum at CCM and Virginia Tech, and the elected Director of the international Linuxaudio.org consortium, he has a soft spot for libre software. Currently, he is also serving as the elected Board member and treasurer for the Society for Electro-Acoustic Music in the United States (SEAMUS). Having received doctorate at the College-Conservatory of Music in Cincinnati (2005), Dr. Bukvic is currently working at Virginia Tech as an assistant professor in music composition & technology, the founder and director of the new Digital Interactive Sound and Intermedia Studio (DISIS), the music technology and interactivity faculty in the new Collaborative for Creative Technologies in the Arts and Design (CCTAD) interdisciplinary program, and as a member of the Center for Human-Computer Interaction (CHCI). An apparently random title with the [not so] subliminal references to Bela Bartok’s legacy, in a desperate author’s attempt to [quite blatantly] cash in on such an association, as well as in part due to utter sleep deprivation which had eventually resulted in a flu with benefits, Out of Doors Suite Part 2 therefore stands as an unauthorized [and arguably abysmally botched] sequel [as usually all commercial sequels and prequels are] to its forerunner. Dubiously, through interference of the [sparse] gray matter of its deranged parent [no, not Bartok, the other guy] the idea inexplicably grew into a buoyant play on words and stereotypes of our times…To put it bluntly, if you ever wondered what Monty Python would do if they did electroacoustic music… The work of Samantha DiRosa explores the precariousness of memory and history and our societal fixation with documenting and classifying experience. DiRosa draws inspiration from institutional, cultural, and personal archives and she is concerned with issues of permanence, evidence, and truth within the context of these archives. Her hybrid media installations unite scientific inquiry with esoteric questions and manifest via the vehicles of book arts, video, sound, sculpture, and photography. DiRosa’s work has been exhibited widely, and includes solo and group exhibitions at Portland Art Center (Portland, OR), Keki Gallery (Budapest Hungary), 1078 Gallery (Chico, CA), TIXE Artspace (New York, NY), Manifest Creative Research Gallery (Cincinnati, OH), and Fort Collins Museum of Contemporary Art (Fort Collins, CO). DiRosa holds MFA's in both Photography and Digital Arts from the University of Oregon and a BFA from Long Island University in New York. She is currently on the faculty of Elon University. Notturno (2007) was conceived as a collaborative project between bassoonist and composer Ryan Hare and hybrid-media artist Samantha DiRosa. The music is two excerpted movements from Hare's Sinfonia: Six Pieces in Memoriam John Cage (2000). These movements are entitled Nachtmusik I and II (in an oblique homage to Gustav Mahler's Seventh Symphony), and are night music in the Bartokian sense of the word. Hare had for some time thought of extracting these two movements into a separate composition, and this project proved to be the ideal opportunity. Concerning the music used in the two movements and here in Notturno, Hare wrote, "The sound sources include a recalcitrant steam radiator from an old apartment I once lived in, which used to awaken me daily in the brutally early hours of the morning. After cursing the primitive technology, I sometimes tried to adopt a more constructive attitude and hear the radiator noises as a composition." DiRosa’s accompanying video consists of footage captured from the Costa Rican rain forest and the Museum of Natural History in New York, purposely recorded at a slow frame rate with a low resolution digital still camera. Akin to her earlier work, issues surrounding the technological mediation of nature and experience manifest in this collage of pixelated moving images. Mark Engebretson (b. 1964) is Assistant Professor of Composition and Electronic Music at the University of North Carolina at Greensboro. His compositions have been presented at festivals such as ICMC (International Computer Music Conference), Bowling Green Festival of New Music and Art, Third Practice Festival, Wien Modern (Vienna), Gaida Festival (Vilnius, Lithuania), Sonoimagenes (Buenos Aires) Hörgänge Festival (Vienna), Ny Musikk (Bergen, Norway), Indiana State University New Music Festival (Terre Haute, Indiana), the Florida Electroacoustic Music Festival, ISCM Festivals (Tirana, Albania and Baku, Azerbaijan), the UNCG New Music Festival and World Saxophone Congresses (Pesaro, Italy, Montreal, Canada, Minneapolis, Minnesota and Ljubljana, Slovenia). Recent performances include premieres by UNCG’s EastWind Ensemble at Carnegie Hall, the SUNY Fredonia Wind Ensemble at a College Band Director’s National Organization (CBDNA) regional conference, the Wroclaw (Poland) Philharmonic Orchestra, a presentation by the Jacksonville Symphony and a three-night, sold out engagement featuring Winter Ashes, with dance and video by John Gamble. Since its completion in January 2006, SaxMax for saxophone and interactive electronics has received eleven performances worldwide. She Sings, She Screams for alto saxophone and digital media has been performed countless times worldwide, and has been released on three commercial compact disc recordings, two of which are on the Innova label. Other works on CD include Nesseln (Arizona University Recordings American’s Millennium Tribute to Adolphe Sax, Volume VIII, AUR CD 3121); Duo Concertante (recorded twice, both due for release soon); and Events (to be included on FEMF vol. 2 proceedings disc). A composer-feature disc of chamber music was released in 2007 (Innova 645). Dr. Engebretson taught composition at the University of Florida, music theory at the SUNY Fredonia and 20th-century music history at the Eastman School of Music. He studied at the University of Minnesota (graduating Summa cum Laude), the Conservatoire de Bordeaux (as a Fulbright Scholar), and Northwestern University, where he received the Doctor of Music degree. At Northwestern he studied composition with M. William Karlins, Pauline Oliveros, Marta Ptaszynska, Michael Pisaro, Stephen Syverud and Jay Alan Yim and saxophone with Frederick Hemke. His teachers in France were Michel Fuste-Lambezat and Jean-Marie Londeix. With the completion of Energy Drink III, I can finally speak of the Energy Drink pieces as a series, which it has been my intention to create for a number of years. These pieces are intense, energetic and demanding works, demanding a virtuoso performance from both the player and composer. Energy Drink III was commissioned by my colleague and friend, violist Scott Rawls. This piece is, in essence, a blues, with a chord structure derived from this form stretched out one time over the entirety of the short work, thus forming the harmonic plan for the whole. I wanted to work with (varied) repeatability in this piece, so material you hear once, you may hear again. There are a myriad of localized harmonic schemes and motivic variations overlaid onto the basic harmonic scheme, considerable amount of work with sound, timbre, rhythm and meter. My conception of harmony may seem somewhat distant from the inspiration, but ultimately, it is all derived from the blues. Bill Fontana has worked for the past 30 years creating installations that use sound as a sculptural medium to interact with and transform our perceptions of visual and architectural settings. These have been installed in public spaces and museums around the world including San Francisco, New York, Paris, London, Berlin, Venice, Sydney and Tokyo. His sound sculptures use the human and/or natural environment as a living source of musical information. He is assuming that at any given moment there will be something meaningful to hear and that music, in the sense of coherent sound patterns, is a process that is going on constantly. His methodology has been to create networks of simultaneous listening points that relay real time acoustic data to a common listening zone (sculpture site). Since 1976 he has called these works sound sculptures. He has produced a large number of works that explore the idea of creating live listening networks. These all use a hybrid mix of transmission technologies that connect multiple sound retrieval points to a central reception point. What is significant in this process are the conceptual links determining the relationships between the selected listening points and the site-specific qualities of the reception point (sculpture site). Some conceptual strategies have been acoustic memory, the total transformation of the visible (retinal) by the invisible (sound), hearing as far as one can see, the relationship of the speed of sound to the speed of light, and the deconstruction of our perception of time. From the late 90”s until the present his projects have explored hybrid listening technologies of acoustic microphones, underwater sensors (hydrophones) and structural/material sensors (accelerometers). He has also realized and is developing projects that access live seismic networks to explore the sound energy of ocean waves, traveling long distances underground. Spiraling Sound Axis is a sound sculpture by artist Bill Fontana recently installed in the Weatherspoon's sculpture courtyard, and receiving it’s official inauguration at the 2007 UNCG New Music Festival. Spiraling Sound Axis consists of custom-made recordings of familiar North Carolina sounds that Fontana collected throughout the state between 1991 and 1993. The artist traveled around the state recording sound samples that represent the state's history, industry, people, culture, and environment. A thunderstorm in Wilmington, a tobacco auction in Wilson, Cherokee storytellers, a fiddler's convention in Mount Airy, morning preparations at Old Salem, waves crashing at the coast, birds, frogs, and geese are just a few of the hundreds of sounds Fontana recorded and wove into his piece. The work itself is made up of three CD players, 4 amplifiers and 8 speakers. The taped sounds will be heard randomly throughout the Weatherspoon courtyard. John Halle is an assistant professor of music at Yale University. He has studied with Fred Lerdahl at Columbia, Andrew Imbrie at UC Berkeley, and at the University of Michigan with William Bolcom and William Albright. He has also studied privately with John Harbison in Italy and at Tanglewood. Halle's music includes Operation Chaos commissioned by the Bang on a Can All- Stars, Structural Adjustment for the Common Sense Composers' Collective, recorded on the group's first CD on the CRI label and Softshoe for brass quintet, recorded on the Meridian Arts Ensemble's Channel Classics CD Smart Went Crazy. His recent work includes Gaze premiered at the Chamber Music of Lincoln Center Double exposure series and Mortgaging the Earth on a text by former Treasury Secretary Lawrence Summers premiered by the New York new music ensemble Sequitur. For many years a jazz pianist in San Francisco and New York, he has performed with Sonny Stitt, Tom Harrell, Mark Levine and Woody Shaw. He has also performed widely as a new music pianist having premiered works by American composers in Russia, Estonia, Germany, at the Bang on the Can Festival in New York, on recordings by Julia Wolfe and Evan Ziporyn and at composer's concerts at Columbia and Princeton. An a occasional writer on music, Halle has published collaborative work with Fred Lerdahl on the relationship of musical and linguistic generative grammars. He is currently working with Edward Harsh on "Themes and Provocations" a selection of interviews with and essays about younger composers. Andrew Hannon is currently working as a graduate assistant at The University of South Carolina where he is working on his DMA in Composition. Andrew has also received his MM in Composition/Theory and a BM in Music Education from Southern Illinois University. As a Composer, Andrew has studied with John Fitz Rogers, Reginald Bain, Frank Stemper, and Kathleen Ginther, as well as masterclasses with Paul Lanksy, Bernard Rands, and Jacob ter Veldhauis. His compositions use a mixture of complex rhythms, nearly atonal harmonies, and generous use of electronics to create a texture that is both familiar and unexpected. In 2005 Andrew won the Carl Deis Award for "The Places We Hide". Eternal Enamor is divided into three movements that trace the personal emotions related to the process of desire and dissatisfaction. The first movement represents a playful nature in which one is enticed and courted by a sense of fulfillment. The second movement is a bittersweet mixture of emotions beginning with satisfaction and then moving to a realization that the attraction has now faded. The third movement begins with a sense of disillusionment filled with angst and frustration only to culminate with a new attraction. “My stomach's always been a liar- I'll believe its lies again.” (Aaron Weiss, I never said that I was brave) Ryan M. Hare, originally from Reno, Nevada, teaches composition, music theory, and studio bassoon at Washington State University, is the bassoonist for the Solstice Wind Quintet, holds the position of principal bassoon with the Washington-Idaho Symphony, and is a member of the Seattle-based new music ensemble Affinity. He earned the degree Doctorate of Musical Arts in Composition from the University of Washington; his other degrees include a Master of Music in Composition from Ithaca College and a Bachelor of Arts in Music from Oregon State University. Recently, he was honored to be selected for the Washington Composers Forum "Composer Spotlight" series at Jack Straw Productions in Seattle, and in 2006 he was awarded a prestigious, unrestricted fellowship from Artist Trust. Hare's compositions have been performed in many venues throughout the United States, in Chile, and also at the Ferienkurse fuer Neue Musik in Darmstadt, Germany. As a bassoonist, he has been active as a freelance performer since high school, and has performed in professional orchestras in many places across the U.S.; this includes freelancing with many of the leading orchestras in the Puget Sound region, such as the Seattle Symphony, Northwest Sinfonietta, Tacoma Symphony, and Bellevue Philharmonic. He has been particularly energetic as a supporter of new music, and has commissioned or premiered a very large number of new works by a variety of composers. A compact disc featuring contemporary pieces performed by Hare for solo bassoon and bassoon with electronics is available on the Present Sounds Label. (see notes for Notturno under Samantha DiRosa) Lou Harrison has for fifty years been in the vanguard of American composers. An innovator of musical composition and performance that transcends cultural boundries, Harrison's highly acclaimed work juxtaposes and synthesizes musical dialects from virtually every corner of the world. Born in Portland, Oregon, on May 14, 1917, Lou Harrison grew up in the culturally diverse San Francisco Bay Area. There he was influenced by Cantonese Opera, Gregorian chants and the music of California's Spanish and Mexican cultures. Harrison also developed an interest in Indonesian Gamelan music through early recordings. As a young man, Lou Harrison (1917 - 2003) worked as a dancer and a dance accompanist. His early compositions included a large body of percussion music, combining Western, Asian, African and Latin American rhythmic influences with homemade 'junk' instruments. During this period, Harrison worked closely with John Cage and began studies in Los Angeles with Arnold Schoenberg. A move to New York in the mid-forties brought Harrison to the Herald Tribune as music critic. Here Harrison helped to bring wider attention to the work of Charles Ives, and is considered largely responsible for Ives' receiving the Pulitzer Prize. The young composer and critic also embarked on a study of early European music during this period. In the late forties, Harrison taught at the legendary Black Mountain College. By the early fifties, he moved back to California, where he has lived ever since. Residence on the West Coast intensified Harrison's involvement in a synthesis of musical cultures bordering on the Pacific, reflected in such works as Pacifica Rondo and Lo Koro Sutro for chorus and gamelan. Over the decades, he maintained an interest in dance, theater and the craft of instrument building and was an accomplished puppeteer who composed music for puppet theater. Harrison traveled extensively, adding to the global resonance his artistry, performing and studying with the musical masters of varied cultures, and presenting his work to enthusiastic audiences everywhere. Michael Tilson Thomas acknowledged Harrison's mastery by commissioning him to compose Parade for M.T.T. the first piece of music Tilson Thomas conducted as Music Director of the San Francisco Symphony. Performers such as Keith Jarrett, Yo-Yo Ma, The Mark Morris Dance Group and Dennis Russell Davies also premiered Harrison's music. Alex Kotch, a Chapel Hill native, received a Bachelor of Arts degree in Music from Brown University in 2006, where he played clarinet and saxophone in the orchestra, jazz band, and Brown New Music, an ensemble he co-founded in 2004. His compositions and sound-art have been performed or installed in Rhode Island, Massachusetts, Connecticut, California, Ohio, and North Carolina. His mentors include Todd Winkler, Alvin Lucier, Ed Tomassi, Martin Bresnick, and Stephen Jaffe. He is currently in his first year of Duke’s Ph.D. program in Composition. The title (Reduce, Reuse, Recycle) reflects the history of the work’s main musical material. It originated in 2004 as a four-part choral piece, but something was missing. I reduced the work to selected elements and reused it in its next form, a 13-part clarinet choir, in 2005. This ensemble never did come together, and I put the material on hold for over a year. Finally, I reworked it into a transformed, or recycled, version for saxophones and piano. At the request of Thierry Pécou, I arranged it for clarinet, cello, and piano for Ensemble Zellig. Paul Leary born in Southern California in 1974. His 1997 piece, A Man Adrift on a Slim Spar , was a finalist in the BMI Young Composers Competition. In 1997 he attended the University of Michigan and in 1999 received his Bachelor's in music Composition. There he studied with William Albright, Erik Santos, and Michael Dougherty. His graduate work brought him to the Cleveland Institute of Music (CIM), where he received his Masters in Music Composition in May 2002. He also attended the summer program, La Scola Catorum in Paris, France under the direction of Phillip Lasser. During his studies at CIM, Paul taught music theory for non-majors at Case Western Reserve University (CWRU). Paul Leary was one of the contributing orchestrators for Contemporary Youth Orchestra concert Classical Nash. In the fall of 2003, the Contemporary Youth Orchestra commissioned Paul for Concerto for Trumpet, Turntables, and Orchestra for their December concert. Paul's piece, Horn Sonata was premiered by Richard King, principle horn of the Cleveland Orchestra in the spring of 2003. In April 2004, Paul orchestrated, arranged and transcribed the Contemporary Youth Orchestra's concert with Jon Anderson, lead singer of Yes. In 2005, Paul orchestrated and arranged a concert with four-time Grammy Award winning artist Pat Benetar. Paul's music has also appeared in the concert series at Mather Dance Center in Cleveland, Oh, from 2002-6; contributing works for String Quintet, Electronics, Cello and Piano, Clarinet and Piano, and solo Piano. Paul's most recent work, "I have a Past Life Memory of the War that Blew the Fifth Planet into the Asteroid Belt" for sax quartet and electronics was chosen as a finalist at the 2007 International Computer Music Conference in Copenhagen, Denmark. In 2005, Paul became a part-time lecturer at Case Western Reserve University teaches computer music. In 2005, Paul Leary began working towards his PhD in Music Composition at Duke University. Currently, Paul is taking a leave of absence from his studies at Duke to teach theory, composition, and music history full time at Denison University in Granville, OH. Piano Sonata for solo piano and electronics is a work in progress. This first movement reflects my love of popular genres such as trip hop, hip-hop, electronic music, and metal. More and more my "concert" works are being influences by popular genres and electro-acoustic music; groups such as Linkin Park, PortisHead, múm, The Books, and Massive Attack play pivotal roles in my artistic thinking. Most of the electronics in this work are drawn from an extensive library of samples I took from my piano at home. Marco Marquez received his MFA in Computer Art from the New York School of Visual Arts in 1999, specializing in 3-d modeling and animation. After returning to California, Marco worked as a lead/senior designer at multiple design agencies in Silicon Valley, designing and producing web design, brochures, and corporate branding. Marco currently lectures at Santa Clara University's Art department, where he teaches 3D, computer art, and graphic design courses. His fine art interests include painting, digital and mixed media. This is his first collaborative animation with artist Kathy Aoki and composer Judith Shatin. (see notes for Penelope’s Song under Judith Shatin) Award-winning composer and pianist John Musto is regarded as one of the most versatile musicians before the public today. His richly allusive and eclectic style wedded to an exacting compositional technique has won him critical and audience acclaim throughout the world. Mr. Musto was a finalist for the 1997 Pulitzer Prize for his orchestral song cycle Dove Sta Amore. He has also garnered two Emmys and two CINE Awards for his scores written for television. In 2000 he was awarded a Rockefeller Fellowship at Bellagio, Italy. Mr. Musto has been featured on the Great Performers series at Lincoln Center and the Composer Portrait series at Columbia’s Miller Theater. John Musto has been a visiting professor at Brooklyn College and is a frequent guest lecturer at the Juilliard School and the Manhattan School of Music. As a pianist, Mr. Musto has recorded for Harmonia Mundi, Nonesuch The Milken Archive, CRI and EMI, and his compositions have been recorded for Hyperion, Harmonia Mundi, MusicMasters, Innova, Channel Classics, Albany Records and New World Records. The expatriate American experimentalist composer Conlon Nancarrow is increasingly recognized as having one of the most innovative musical minds of the twentieth century. His music, almost all written for player piano, is the most rhythmically complex ever written, couched in intricate contrapuntal systems using up to twelve different tempos at the same time. Yet despite its complexity, Nancarrow's music drew its early influence from the jazz pianism of Art Tatum and Earl Hines and from the rhythms of Indian music; Nancarrow's whirlwinds of notes are joyously physical in their energy. Composed in almost complete isolation from 1940, this music has achieved international fame only in the last few years. Shawn E. Okpebholo, age 26, joined the faculty of Northern Kentucky University in 2007 as Lecturer in Music Theory and Composition. His previous teaching experiences include the University of Cincinnati, College Conservatory of Music and Cincinnati State Technical and Community College. In addition to his duties at NKU, Dr. Okpebholo is an active composer and arranger. His music has been performed in over twenty-five states, Canada, and Europe by many diverse performers and ensembles. Some, of which, include the United States Army Field Band, Blue Ash/Montgomery Symphony Orchestra, Cincinnati Chamber Players, Royal Belgian Navy Band, and Soprano Tamara Wilson of the Houston Grand Opera. His success as a composer has also included publications with both domestic and international publishing companies, radio broadcasts, and commissions by major organizations, such as the United States Air Force Band of Mid-America, the Ohio Music Education Association, and the International Tuba and Euphonium Association. Dr. Okpebholo has studied with the late “Disney Legend,” Buddy Baker, at New York University in an ASCAP-sponsored film-scoring workshop. He was nationally selected to be a part of the National Band Association and Bands of America’s Young Composer Mentor Project. He has twice won the Kentucky Music Educators Association All-College Composition Contest and is a three-time winner of Asbury College’s Peniston Honors in Composition. Since becoming a member of ASCAP, he has received annual awards. Dr. Okpebholo is currently on the Board of Advisors of the Blue Ash/Montgomery Symphony Orchestra, a member of ASCAP, Society of Composers Incorporated, and is the Artistic Director of The Eden Project, a contemporary chamber music ensemble. Dr. Okpebholo received his B.A. in music composition and musicology from Asbury College where he studied composition with James Curnow and Ronald Holz. In 2007, Dr. Okpebholo received is D.M.A. in composition with a minor concentration in music theory from the University of Cincinnati, College-Conservatory of Music, where he also received his M.M. At CCM, Dr. Okpebholo studied composition with Joel Hoffman and Michael Fiday, electro-acoustic and computer music with Mara Helmuth, and jazz composition with Paul Piller. Circleplay originally composed for solo clarinet and digital delay (Digitech TRS-24) is a result of my long time desire to compose an electro-acoustic composition. I first heard Anthony Taylor use digital delay during a performance of Thea Musgrave's Narcissus. I was so fascinated by that performance that I had decided to compose a piece using similar delay techniques. A year later came Circleplay . For this composition to be successful, it is important that the performer play with rhythmic integrity in order accomplish the correct groove. This will also result in the performer playing off of and in canon with him or herself. You will see why I call Anthony a clarinet virtuoso. I would like to give special thanks to Thomas Royal for working many hours in converting the Digitech TSR-24 delay effects to Max/MSP. Pablo Ortiz was first trained in his native Buenos Aires, where he received a degree from the Universidad Catolica Argentina. At 27, he moved to New York to study at Columbia University. He studied composition with Mario Davidovsky, , Chou Wen Chung, Jack Beeson , Jacques Louis Monod, Fred Lerdahl, Gerardo Gandini, and Roberto Caamano. At present, he is Professor of Composition at the University of California, Davis. He taught composition and was co-director of the Electronic Music Studio at the University of Pittsburgh from 1990 to 1994. His music has been heard at international festivals in Salzburg (Aspekte), Geneva (Extasis), Strasbourg (Musica), Havana, Frankfurt, Zurich, Sao Paulo and Mexico City. He was a fellow at the Composers' Conference at Wellesley College in 1986 and 1988, and he was commissioned by the Fromm Foundation in 1992. In 1993, he received a Guggenheim Fellowship. In 1996 he received the Charles Ives Fellowship from the American Academy of Arts and Letters. In 1999 he was commissioned by the Koussevitzky Foundation to write a piece, Raya en el mar, for the San Francisco Contemporary Music Players. In 2000 he received a grant from Fideicomiso para la cultura Mexico-US to write children's songs based on poems by Francisco Alarcon, renowned Chicano poet and Mission artist. Daniel C Pappas is currently pursuing his DMA in composition at the University of South Carolina where he studies with Dr. John Fitz Rogers and Dr. Reginald Bain. Daniel received his undergraduate degree from Grace College, Indiana in violin performance in 2003, and a Masters degree in composition from the University of North Carolina at Greensboro in 2006 where he studied with Mark Engebretson. Having grown up in Southern Germany he received training in violin, piano, the recorder and theory/composition from an early age at the Musikschule Aalen. His teachers include Stefan Kueling and the composer Henning Brauel. Daniel’s first notable performance took place in Heubach, Germany with the Rosenstein Kammerorcherster in 2004. In 2006, The Silence about Heaven a piece for orchestra was premiered by the UNCG Symphony having been selected as the winner of the University’s annual concerto competition. This same work was presented a few months later in Germany as part of the Rosenstein Kammerorchester’s centennial celebration. Fantasia per Oboe e Electro Continuo (2007) is the second installment in a series of works dedicated to and commissioned by my brother and highly talented oboist Thomas Pappas. Built around a simple A-B formal plan, this piece was inspired by literature on human pain and the basic human condition. Section A is meant to explore the debilitating effects of a hopeless existence, whereas section B is a reflection of the beauty in pain in which to find redemption and the knowledge of truth. The electronic accompaniment was created with the use of the computer programs Absynth, Vegas, and Cubase. In an effort to enhance the beautiful sound of the oboe and blend it with the Continuo, the instrument is slightly amplified and run through a reverb-unit. A special thanks goes to tonight’s performer, who has been a tireless champion of new music and who continues to exceed all my expectations for what my music can sound like. Matthew Phelps is a composer and conductor from Cincinnati, OH. He currently is the music director for St. Aloysius Gonzaga Church and Women In Song. His choral compositions have been performed by Churches throughout the United States and are published by Kjos and Roger Dean Publishing. He has written underscores for new productions of The Crucible and Romeo and Juliet at Wright State University and is currently working on a musical that will be premiered in Cincinnati in the summer of 2008. He studies with San Francisco composer David Conte. Three piano pieces were written while a student at the College Conservatory of Music in Cincinnati. These pieces infuse dance rhythms, jazz, and modern classical harmonic styles. The first movement takes the cross rhythm of a jazz waltz and melds it will percussive opening theme. The theme abruptly ends and melds with a devilish 2-part invention until the theme returns. The second movement was conceived as a modern minuet in free style. It uses modal writing; which makes it sound almost impressionistic. It also employs a strict accompaniment in the left hand while the melody is very free; an interesting juxtaposition reminiscent to people trying to impose time on a timeless universe. The final movement uses Latin Jazz its inspiration and is a fun short work for pianist and listener. Matthew Quayle (BMI) joined the UNCG School of Music as Lecturer in 2007. In recent years his music has been performed by Alarm Will Sound, the Arditti String Quartet, the Avalon String Quartet, eighth blackbird, the International Contemporary Ensemble (ICE), and the Southeastern Trio. He has also received commissions from the Almeida Theatre in London, the New London Children’s Choir, flutist Claire Chase, saxophonist Gail Levinsky, and cellist Ashley Sandor Sidon. In 2007 his string orchestra piece Gridley Paige Road received both the Grand Prize and the People's Choice Award in the Adagio Composition Contest of the Fauxharmonic Orchestra. He composed the introduction to the ‘Round Midnight Variations, a collection of variations by prominent contemporary composers on the Thelonius Monk theme; this work was premiered by pianist Emanuele Arciuli at New York’s Miller Theater in 2002. Quayle frequently performs as a piano soloist and chamber musician. Recent collaborations have included recitals with clarinetist Deborah Andrus, cellist Jameson Platte, and flutist Elizabeth Ransom, He was also featured as a composer and performer at the 2006 Glens Falls Symphony Musicbridge Festival. In 1998 he performed his Concerto for Piano and Orchestra with the Oberlin Chamber Orchestra, as winner of the Oberlin Conservatory Concerto Competition. Quayle has served on the faculty at New England Music Camp in Sidney, Maine since 2002. A doctoral candidate at New York University (GSAS), he holds a BM from Oberlin Conservatory and a MM from the University of Cincinnati. Sun Dance (2005) is an eight-minute fantasia for two alto saxophones and piano. The mood is primarily light and exuberant, drawing from jazz, blues and minimalist styles. The two saxophones are often paired and interlocked to create a "super-saxophone". Key clicks are used in the central section to simulate a spontaneous improvisation of drums or clapping. This piece was commissioned by Gail Levinsky, who recorded it in May 2006 at UNCG with Susan Fancher and Inara Zandmane. The live premiere took place at the Penn State Convention of the North American Saxophone Alliance in January 2007. David Rakowski has received a number of awards and fellowships, and has twice been a finalist for the Pulitzer Prize in Music, and won the Barlow Prize in 2006. He has composed five concertos, three symphonies, 81 piano etudes, four song cycles, and a large amount of wind ensemble music and chamber music for various combinations. His music has been performed and recorded widely and is published by C.F. Peters. He is currently the Walter W. Naumburg Professor of Composition at Brandeis University. Rakowski writes: I write music. Concert music. Texas tea. The music is difficult (it's not just hard, it's damn hard, or in Maine, wickid had), not tonal in the traditional diatonic sense ("tonal" is an imprecise word, and in many senses, my music IS tonal -- it has also been called "atonal," "with more tonal centers that you used to have," "sounds like it's in a minor key," "pretty," and "unremarkable"), and somewhat traditionally structured -- and it has lots and lotsa notes. People who use language imprecisely call the music "Modernist." Others have called it "Romantic", "total rockout" and "borderline Neoclassical". Go figure. I live in Massachusetts and Maine with my wife Beth, and we own two red canoes. Both of us grew up in Vermont near Lake Champlain, me in a dairy farming region (where we don't talk about our feelings, we don't talk about how much we make, and the word "cow" has between five and six syllables) and Beth in the ultra-cosmopolitan Burlington. I teach composition and music theory at Brandeis University, and Beth teaches composition, theory and clarinet at the University of Maine in Orono. Thanks to our long-distance marriage, we have two of many things, including cats, houses, mortgages, cars, vacuum cleaners, back yards, refrigerators, garages, lawnmowers, iPods (actually, we have four), back doors, mud rooms, attics, futon couches, driveways, kitchen sinks, basements, washers, dryers, belly buttons, and fingernail clippers. And now, also two canoes (both of them red), thanks to a recent co-inheritance in Vermont. And six computers. And six printers. Including a color laser printer (bitchin). My students, both graduates and undergraduates, have permission to call me Davy, as do my colleagues. I do not know what any of them call me behind my back (this expression would not make sense if I were a mobius strip). Other very good (but strange) friends, and relatives, call me Uncle Davy (note: "Davy" is a four-letter word). Born in Argentina, composer Alejandro Rutty’s output includes orchestral, chamber and mixed-media music, arrangements of Argentine traditional music, and innovative outreach musical projects Rutty’s compositions and arrangements have been played by the Minnesota Symphony Orchestra, National Symphony Orchestra of Argentina, National Symphony Orchestra of Brazil, New Mexico Symphony Orchestra, Linköping Symphony Orchestra, Kiev Philharmonic, the New York New Music Ensemble, the Amherst Saxophone Quartet, and the Cassatt String Quartet among other groups. Recordings of his music have been released by Capstone Records, Arizona University Recordings, and ERM Media Recent events include: the performance of Rutty’s arrangement of Roop Verma’s Concerto for Sitar and orchestra in Linkoping, Sweden, and a concert of the Hey, Mozart New Mexico’s project with the New Mexico Symphony Orchestra Rutty is currently working on an orchestral piece commissioned the MATA Festival. The piece will be performed by the Boston Modern Orchestra Project at the MATA Festival in Boston and New York City in the spring of 2008. Founder and Artistic Director of the Hey, Mozart! project, Rutty's activities include his work as arranger and pianist for Lorena Guillén's Argentine-Tango performances. He has been Co- Director of the Hartwick College Summer Music Festival and founder of the ensemble Lake Affect, a group dedicated to interdisciplinary work with poets. Alejandro Rutty is currently Assistant Professor of Music at the University of North Carolina at Greensboro. L’accordeoniste, for oboe, clarinet, alto sax, and bassoon is the second life of Witchcraft Recipes #13, for accordion, clarinet, violin, and cello. The piece, originally composed for a group including Bulgarian accordionist Peter Stan, is a view of music of the Balkans as seen from South America. In the piece, imperfect imitations of the idiosyncrasies of gypsy accordion playing with South American accent meets a tourist fantasy about gypsy weddings. The metaphor of the wedding guides the structure of the piece, and it includes a band with an accordionist, dance, abundant drink, and the collapse of the tent ruining the food, but not the party. Witchcraft Recipes #13 was never performed. This version of the piece was written for Eastwind and it is called L’accordeoniste in reference both to the imagined and to the real accordion player, while making a reference to a well-known old French song. Vamoalzamendi 2, for soprano and electronic media, is a piece which works on three referential layers. The first layer is a re-telling of a traditional Argentine urban folk tale, which could be summarized as: “A man who, after having a coffee to dispel the sleepiness of a Sunday afternoon, heads to the race track, bets on the wrong horse and returns home on foot, as he has lost even the money for the bus fare. As he walks unconcerned –he may have better luck next time-, he whistles an old song” The second layer is the exploration of natural curves. In this piece, the natural curves are reflected by recordings of actual events with natural dynamic processes such as a coffee machine and the sounds surrounding a horse race. The third layer is that represented by the live voice, which attempts to navigate both the literary and the sonic aspect of the piece. The vocal part has been composed in collaboration with soprano Lorena Guillén. Avant-garde composer and pianist Frederic Rzewski studied with many of the best-known names in 20th century music: Randall Thompson, Walter Piston, Roger Sessions, Milton Babbitt, Luigi Dallapiccola, and Elliott Carter. Rzewski studied at Harvard and Princeton and taught at schools including the Royal Conservatory of Music at Liege and Yale. He was awarded a Fulbright Fellowship in 1960 and co-founded Musica Elettronica Viva in Rome in 1966. Amy Scurria holds a Masters in Music Composition from the Peabody Conservatory at Johns Hopkins University where she studied with Robert Sirota and Chen Yi, and a Bachelors in Music Composition from The Shepherd School of Music at Rice University in Houston, TX. She has also studied composition at La Schola Cantorum in Paris, France with Samuel Adler, Philip Lasser and Narcis Bonet, the Aspen Music Festival, and the Westminster Choir College summer composition program. She is currently a Music Composition PhD candidate at Duke University. Having had her first commission in 1994, Ms Scurria has since been commissioned by such groups as the Philadelphia Orchestra and the Minnesota Orchestra (co-commission), the Fort Wayne Philharmonic, the Vermont Youth Orchestra, Shepherd College in WV, SHE (an a cappella women's choir in NYC dedicated to raising money for NYC charities through music), and the Bryn Mawr (PA) Presbyterian Church, as well as others. Amy Scurria became one of the youngest composers published by Theodore Presser Company. Her music is also now published by Adamo Press. Her music has been heard throughout the United States, Brazil, Portugal, Spain, France, England, and Japan. Her honors and awards have included eight consecutive ASCAPlus Awards, the 1998 Winner of the Haddonfield Young Composers' Competition, and 1991 Winner of the Northern Virginia Composition Competition. Her music has been aired on WCVT, Burlington, VT, WPRB, Princeton, NJ, and Kohlrobi Classics, 90.7 FM, CA. Internet features have included New Music Box, Piano Lane, and Classical Net Review. Ms Scurria is affiliated with ASCAP, Theodore Presser Company, Adamo Press, CPCC, American Composers Forum, and NACUSA. Ms. Scurria believes that "Music is a powerful and unusual language that, when spoken well, can reach the deepest part of the human spirit." Commissioned by the Bryn Mawr Presbyterian Church, Hagar's Prayer is dedicated "To those who died on September 11th, 2001 and for continued dialogue between Christians and those of other faiths." The text is by Margaret Holley. "And God opened her eyes, And she saw a well of water; And she went and filled the bottle With water, and gave the lad a drink." Genesis 21:19 Hagar's Prayer is derived from a story in Genesis. Hagar was the servant girl of Abraham and Sarah. Abraham and Sarah tried to have children for many years without success. In their impatience, Sarah commanded Hagar to sleep with her husband Abraham. Hagar became pregnant and bore a son named Ishmael, which means "God hears." (Sarah later bore a son and they named him Isaac). Sarah, out of jealousy, mistreated Hagar after the birth of Ishmael until Hagar fled into the desert with her son. The text of this piece is written from the standpoint of Hagar as she struggles to care for her son and keep both of them alive. Abraham had two sons, Ishmael (by Hagar) and Isaac (by Sarah). Ishmael became the grandfather of the Arab nation, and Isaac became the grandfather of the Jewish nation. Christ was born of the Jews and was descended from Isaac. Muhammad, the prophet of the Muslim faith, was born of the Arabs and was descended from Ishmael. This work is intended as a reminder that though we may believe that differing faiths set us apart, we are much more like brothers and sisters than we may realize. Called "marvelously inventive" by the Washington Post and "exuberant and captivating" by the San Francisco Chronicle, Judith Shatin's music reflects her adventures as a timbral explorer. Her inspirations range from myth and poetry to the calls of the animals around us and the sounding universe beyond. Her music is internationally performed and has been featured at festivals including the Aspen, BAM Next Wave, Grand Teton, Havana in Spring, Moscow Autumn, Seal Bay, Ukraine and West Cork. Orchestras that have performed her music include the Denver, Houston, Illinois, Knoxville, Minnesota, National and Richmond Symphonies. Shatin's music can be heard on the Centaur, Neuma, New World and Sonora labels. It has been commissioned by groups including the Ash Lawn Opera, Barlow Foundation, Core Ensemble, Garth Newel Chamber Players, Kronos Quartet, Music-at-LaGesse Foundation, National Symphony, newEar, Hexagon Ensemble, Virginia Chamber Orchestra and Wintergreen Performing Arts, the last through Americans for the Arts. Educated at Douglass College (AB), The Juilliard School (MM) and Princeton University (PhD), Judith Shatin is currently William R. Kenan, Jr. Professor and Director of the Virginia Center for Computer Music, which she founded at the University of Virginia. Additional studies included two summers as a Crofts Composition Fellow at Tanglewood, as well as studies at the Aspen Music Festival. Now an advocate for her fellow composers, she has served on the boards of the American Composers Alliance, the League/ISCM, and the International Alliance for Women in Music (IAWM). She also served as President of American Women Composers, Inc. (1989-93). Shatin has been honored with four National Endowment for the Arts Fellowships, as well as awards from the American Music Center, Meet the Composer, the New Jersey State Arts Council and the Virginia Commission for the Arts. A two-year retrospective of her music, and the commission for her folk oratorio, COAL, was sponsored by the Lila Wallace-Readers Digest Arts Partners Program. She has held residencies at Bellagio (Italy), Brahmshaus (Germany), La Cité des Arts (France), Mishkan Amanim (Israel) and in the US at MacDowell, the Virginia Center for the Creative Arts, and Yaddo. Shatin's music is published by Wendigo Music, distributed by MMB Music Inc.; and by Arsis Press, C.F. Peters, Colla Voce and Hal Leonard. Penelope’s Song is a tribute to Penelope, Queen of Carthage and wife of Odysseus. It was inspired by Homer’s epic, the Odyssey, which tells of the travails of Odysseus, but reflects Penelope’s point of view. Ulysses was away from home for twenty years, first at war in Troy and then, due to the sea-god Poseidon’s wrath, for ten more years. The story also tells of Penelope, left waiting for him for all that time, and of the many suitors, filled with greed and arrogance, who tried to woo her in order to become king. To stave them off she devised many excuses. In one, she said she would take no suitor until she finished weaving a shroud for her husband’s aged father, Laertes. But, since she unraveled at night what she wove by day, she made no progress. Instead, she actively waited for Ulysses’ return. This piece sings of her adventures. The electronics were created from a recording of a local weaver working on wooden looms. I processed and shaped these materials, weaving a new sonic fabric. The original version was composed for violist Rozanna Weinberger. Subsequent versions were created for violin, cello and clarinet. This version, for soprano saxophone, was commissioned by and is dedicated to Susan Fancher. In addition to the musical elements, an animation was created for Penelope's Song by artists Kathy Aoki and Marco Marquez. They used a combination of digital painting, 3- d modeling/animation, and digital video to achieve the final result. They thought of the piece in three movements. The first is realized as a building up of the cloth/threads, with a feeling of weight and impending danger or pressure. The second was interpreted as a night scene, wherein Penelope ponders her position and surreptitiously unravels the weavings. The last movement is a visual refrain, based on the first, but with more dramatic and decisive motions. While the piece can be performed with or without the video, I am delighted by their work, and urge that the piece be performed with DVD. From the Animators: This animation, inspired by the weaving sounds of Judith Shatin's Penelope's Song, is our first collaborative effort. The creative process began with interpretive analysis of the electronic music. The weaving notion and the loom recordings became very important for both the images and their rhythmic motion. We also discussed our understanding of Penelope's onus (weaving and unraveling her work as she fends off the suitors while waiting for Ulysses to return) in relation to Shatin's music. We used a combination of digital painting, 3-d modeling/animation, and digital video to achieve the final animation. Throughout the process, we consulted with Shatin about her visual expectations. We thought of the piece in three movements. The first is realized as a building up of the cloth/threads, with a feeling of weight and impending danger or pressure. The second was interpreted as a night scene, wherein Penelope ponders her position and surreptitiously unravels the weavings. The last movement is a visual refrain based on the first, with more dramatic and decisive motions. Devoted to sound and structure, Braxton Sherouse is equal parts composer and code junky. His music has been recognized by the New York Art Ensemble and has been performed on the Florida Electroacoustic Music Festival. He has participated in David Cope's Workshop on Algorithmic Computer Music and numerous music and programming conferences. Most recently, he created a DAW-style audio environment featuring controller lane manipulation of audio objects, hardware-accelerated video integration, and support for high sampling rates and channel counts. Mentored by Mark Engebretson and Alejandro Rutty, Sherouse will receive his Bachelor's degree in Music Composition from UNC Greensboro this December. Regulated Action is a set of bite-sized process pieces for solo piano. Each movement presents self-revealing structures, auditory milestones, rule-based pitch content, and a pinch of funk. A number of diverse compositional methods were used to vitalize (or perhaps regulate) the basic musical materials in each movement: intuition, software, coffee, stochastic motion, logarithm charts, more coffee, and so on. As a whole, the work explores the physical nature of piano performance, the instrument's construction, structural clarity, and "groove." Morton Subotnick is one of the pioneers in the development of electronic music and an innovator in works involving instruments and other media, including interactive computer music systems. The work which brought Subotnick celebrity was Silver Apples of the Moon [1966- 7], was commissioned by Nonesuch Records, marking the first time an original large-scale composition had been created specifically for the disc medium - a conscious acknowledgment that the home stereo system constituted a present-day form of chamber music. He is also pioneering works to offer musical creative tools to young children. He is the author of a series of CDROMS for children, a children’s website [www.creatingmusic.com] and developing a program for classroom and after school programs that will soon become available internationally. He tours extensively throughout the U.S. and Europe as a lecturer and composer/performer. The title, In Two Worlds, refers both to the duality of the media (computer and traditional instrument) and to the synthesis of the musical materials, which consists of recent and more modal concepts of music language. The 18-minute work is in one movement, with sections titled "alone-rushing-celebration-cadenza-alone-combat dance." Subotnick's aim with the electronics was to find a way to blend the live performer with the technology, with the technology responding to the performer. This new version, created in 2007 by Jeff Heisler and Mark Bunce of Bowling Green State University in collaboration with Morton Subotnick, uses Max/MSP, making the electronics portion of the work significantly more portable than the original technical setup of 1987. Fuminori Tanada was born in Okayama in 1961 and studied composition from 1979 until 1983 at the National University of Art and Music in Tokyo, notably with Yoshio Hachimura. He continued his studies at the Conservatoire Natronal Superieur de Musique in Palis where he received first prizes for composition, orchestration and accompaniment. He is the pianist of the contemporary music group Ensemble Itinéraire for whom he has also composed. In Mysterious Morning III I wished to create a state of sonic instability by means of extremely virtuoso writing, with various playing techniques such as bisbigliando, irregular trills, glissandi, sounds sung and played simultaneously, and micro-intervals; this instability is an image of man quivering with madness, a madness that he attempts to conceal within himself; my wish was that the piece should sound like an improvisation. Rodney Waschka II, composer, is best known for his algorithmic compositions, intermedia pieces, as well as music for traditional ensembles. His works often include electronic computer music or other media: visuals, theater, poetry. His music has been performed throughout the United States, in Canada, Mexico, Russia, England, Scotland, Ireland, Spain, Portugal, Germany, The Netherlands, Switzerland, Belgium, Yugoslavia, Bulgaria, Norway, Japan, China, Argentina, Columbia, Puerto Rico, Jamaica, Israel, South Africa, and elsewhere. Important festivals and concert halls where his works have been performed include the International Computer Music Conference, the Society for Electro-Acoustic Music in the US festival, the World Saxophone Congress in Montreal, Merkin Concert Hall in New York, the Sheremetev Palace in St. Petersburg, Russia, the International Review of Composers in Belgrade, the Purcell Room in London, the Museo Reina Sofia in Madrid and many others. Composition, performances, and recordings of Waschka's works have been supported by the North Carolina Arts Council, The National Endowment for the Arts (USA), Meet The Composer, the Fundacion Valparaiso (Spain), the Texas Composers' Forum, the Center for Experimental Music and Intermedia, Northern Illinois University, North Carolina State University, and others. Waschka's works are recorded on the Capstone, IRIDA, Centaur, and AUR labels (USA), Ama Romanta and Plancton labels (Portugal), and the PeP label (Canada). His music is published by Borik Press (Raleigh) and American Composers Editions (New York City). Waschka's teachers Larry Austin, Thomas Clark, Paul Berg, Clarence Barlow, George Lewis, Charles Dodge, Robert Ashley, and Joel Ryan. When I was asked by Karen Moorman to write a flute/oboe/piano trio especially for a young audience (of all ages), I thought of a number of old Russian folk tales as possible plot lines. I consulted with our children, Andre (then 13 years old) and Lana (9 years old at that time). Their favorite was The Good Luck and the Bad Luck, so I set about rewriting the story and retelling it in music. Of course, I changed things to accommodate a trio of story tellers, time constraints, and my own sense of the English language. The premiere was given on 21 September 2004 as part of the Arts NOW Series in Raleigh, performed by members of the Mallarme Chamber Players, Anna Ludwig Wilson, flutist, Bo Newsome, oboist, and Greg McCallum, pianist. The work is dedicated to Andre Kurepa Waschka and Lana Kurepa Waschka. PERFORMERS Wayne Bennett holds a Bachelor's degree in Music Education from the University of Georgia and a Master's degree in Performance from the University of North Carolina at Greensboro. Mr. Bennett is currently pursuing a DMA in Performance at UNCG, where he has also taught Music Theory. His primary trumpet teachers include Michael Stroeher, Randy Sorensen, Fred Mills and Edward Bach. Mr. Bennett is currently the Trumpet/Brass Instructor at the Music Academy of North Carolina in Greensboro. He has performed with organizations in Georgia, South Carolina, Colorado, and North Carolina, including the Georgia Brass, the Classic City Opera, the Western Piedmont Symphony Orchestra, the Hickory Choral Society, the Greensboro Opera Company, the Fibonacci Chamber Orchestra, and Market Street Brass. Mr. Bennett was a semi-finalist in the Masters Solo Division of the National Trumpet Competition in 2004, 2005, 2006, and 2007. He currently resides in Greensboro, NC with his wife, Elizabeth. Mary Ashley Barret is the Oboe Professor at the University of North Carolina at Greensboro and has been on the faculty since 1998. A native of North Carolina, she holds the principal oboe position with the Greensboro Symphony Orchestra in addition to being a frequent performer throughout the southeastern USA. She has appeared as soloist with the Salisbury Symphony, the Florida State Wind Orchestra, the UNCG Orchestra, the Pottstown Symphony Orchestra, and has presented numerous guest recitals and master classes throughout the United States, Caribbean, Central America, Canada, New Zealand and Australia . An avid champion of the chamber ensemble, Barret performs regularly with the Cascade Wind Quintet, the EastWind Trio d’Anches, TreVent and has spent several summers playing chamber music in the Adirondacks of New York. In 2003, Barret was co-host for the International Double Reed Society’s 32nd annual Conference. Most recently, in 2005, the EastWind Trio d’Anches made their Carnegie-Hall debut. Barret's degrees include the Doctor of Music from Florida State University, the Master of Music from Baylor University, and the Bachelor of Music from the Eastman School of Music. She can be heard on Live from Luzerne recordings with the Luzerne Chamber Players (NY), Out of the Woods , French reed trio music with TreVent, The Russian Clarinet (with EastWind Trio d’Anches) and Chamber Music of Samuel Coleridge-Taylor (pub. by Centaur Records). Barret is an artist/clinician for Buffet-Crampon. Kelly Burke joined the faculty at the University of North Carolina at Greensboro in 1989. She is currently the principal clarinetist of the Greensboro Symphony Orchestra and bass clarinetist of the Eastern Music Festival Orchestra. Equally at home playing Baroque to Bebop, she has appeared in recitals and as a soloist with symphony orchestras throughout the United States, Canada, Germany, New Zealand, Australia, and Russia. An avid chamber musician, Burke is frequently heard in concert with the Mallarmé Chamber Players, for whom she plays both clarinet and bass clarinet, the East Wind Trio d'Anches, Middle Voices (clarinet, viola and piano), and the Cascade Wind Quintet. Burke's discography includes several recent releases with Centaur Records: The Russian Clarinet, with works by Prokofiev, Shostakovich, Glinka, Melkikh, and Goedicke; Middle Voices: Chamber Music for Clarinet and Viola, featuring works by several American composers; and Samuel Coleridge-Taylor: Chamber Music featuring the quintet and nonet. She has also recorded for Telarc, Albany and Arabesque labels. Burke has received several teaching awards, including UNCG's Alumni Teaching Excellence Award, the School of Music Outstanding Teacher Award, has been named several times to Who's Who Among America's Teachers, and was recently honored with the 2004 UNC Board of Governor's Teaching Excellence Award. She is the author of numerous pedagogical articles and the critically acclaimed book Clarinet Warm-Ups: Materials for the Contemporary Clarinetist. She holds the BM and MM degrees from the Eastman School of Music and the DMA. from the University of Michigan. Burke is an artist/clinician for Rico International and Buffet Clarinets. Michael Burns holds the BM degree from the Victoria University of Wellington, New Zealand, the MM from the New England Conservatory, and the DMA from the University of Cincinnati College-Conservatory of Music. Burns has performed in numerous professional orchestras including the Cincinnati and the New Zealand Symphonies and played Principal in the Midland/Odessa, Richmond and Abilene Symphonies; and the Cincinnati Chamber Orchestra. Prior to UNCG he taught at the Cincinnati College-Conservatory, Indiana State University, and Midland College. He remains active as a solo and chamber performer with numerous performances at International Double Reed Society conventions, recitals and master classes throughout North America and the South Pacific, and is bassoonist in the EastWind Ensemble and the Cascade Quintet. He has recorded for the Centaur, CAP, Telarc, EMI, Klavier, and Mark labels. In summers, Burns is associated with the Eastern Music Festival and the Bands of America Summer Symposium. He is also an active composer with many of his pieces being published by BOCAL Music and frequently performed. His mentors include William Winstead, Sherman Walt, Leonard Sharrow, and Colin Hemmingsen. He is archivist for the International Double Reed Society and was co-host for the IDRS 2003 Conference in Greensboro, NC. Burns is a Yamaha Performing Artist. Amy Briggs Dissanayake has established herself as a leading interpreter of the music of living composers, while also bringing a fresh perspective to music of the past. She recorded two volumes of David Rakowski’s Piano Etudes on Bridge Records to much critical acclaim. Based in Chicago, she is a featured soloist and chamber musician on the Chicago Symphony Orchestra’s MusicNOW series, where she has worked with composers such as Simon Bainbridge, Pierre Boulez, Oliver Knussen, David Lang, Tania Léon, Esa-Pekka Salonen, and Augusta Read Thomas. In the 2005-2006 season, she premiered Knussen’s A Fragment from Ophelia’s Last Dance for solo piano. She was awarded a stipend prize at the 2000 Darmstadt Internationale Fereinkurse für Neue Musik. The Chicago Tribune has called “extraordinary” Dissanayake’s “mastery of what lay on the dense, printed page and beyond,” and the Chicago Sun-Times called her a “ferociously talented pianist.” Classics Today said of volume one of the Rakowski Etudes project, “Dissanayake does a splendid job projecting the music's wit, and her unflappable virtuosity makes even the densest writing sound effortless... a marvelous disc that piano fanciers should snap up without hesitation.” In addition, the New York Times praised her recent recording of Augusta Read Thomas’s six Piano Etudes as “elegant” and “precisely shaded.” Dissanayake has appeared as a soloist and chamber musician in the United States, Europe, Asia and Africa. In 1993, she was selected by the United States Information Agency to tour Africa and South Asia as a United States Artistic Ambassador. Her highly acclaimed concerts combined traditional repertoire with contemporary American music. Today, her recital programs connect composers from all eras and nationalities. She has performed with the Callisto Ensemble, the Chicago Contemporary Players, Chicago Pro Musica, the Chicago Chamber Musicians, Klang, and the Empyrean Ensemble, and as an extra keyboardist with the Chicago Symphony Orchestra. She has also been a prizewinner in the Joanna Hodges International Piano Competition and the Frinna Awerbuch International Piano Competition. Amy Briggs Dissanayake has appeared as soloist with the Chicago Chamber Orchestra, New Hampshire Philharmonic, and the Symphony Orchestra of Sri Lanka, among others, and her live and recorded performances have been featured on radio stations around the United States and Europe. Recent performances include the Rock Hotel Piano Festival in New York City, the world premiere of Jeffrey Mumford’s new piano quintet with the Pacifica Quartet, a residency at the Atlantic Center for the Arts, the Wittener Tage für neue Kammermusik, and solo recitals in the People’s Republic of China. Recordings soon to be released include a disc of 20th and 21st century tangos for solo piano, a concerto for piano and wind ensemble of George Flynn on Southport Records, and chamber music recordings of Conlon Nancarrow and Erik Oña for Wergo. Upcoming engagements include a performance with Ursula Oppens and the Mark Morris Dance Company at the Ravinia Festival, as well as solo recitals at Symphony Space in New York City and an appearance on the Keys to the Future Piano Festival in New York City. A graduate of Skidmore College and DePaul University, Ms. Dissanayake studied with Ursula Oppens at Northwestern University, where she earned her Doctor of Musical Arts degree in Piano Performance. She is a Steinway Artist. Susan Fancher’s career has featured hundreds of concerts internationally as a soloist and as the member of chamber music ensembles, including the Red Clay, Amherst, Vienna and Rollin’ Phones saxophone quartets. Her work to develop the repertoire for the saxophone has produced dozens of commissioned works by contemporary composers, as well as published transcriptions of music by composers as diverse as Josquin Desprez and Steve Reich. A much sought-after performer of new music, she has worked with a multitude of composers including Terry Riley, Charles Wuorinen, Philip Glass, Hilary Tann, Friedrich Cerha, Ben Johnston, M. William Karlins, Stuart Saunders Smith, Perry Goldstein, Olga Neuwirth, Judith Shatin, David Stock, Michael Torke, Ed Campion and Robert Carl, just to name a few, and has performed in many of the world’s leading concert venues and contemporary music festivals. Her discography includes a solo CD entitled Ponder Nothing on the Innova label and a recording on New World Records of Forever Escher by Paul Chihara. Susan Fancher is a regularly featured columnist for the nationally distributed Saxophone Journal and an artist for the Selmer and Vandoren companies. Samee Griffith is a DMA student in the piano performance program at UNCG and is currently studying with Dr. John Salmon. She holds a BM from Wright State University in piano performance and a MM from Bowling Green State University in piano performance and collaborative piano. While at BGSU, Samee had the opportunity to perform with the university choirs and premiere several choral works by jazz legend Dave Brubeck. The Washington-Post has described Lorena Guillén as a “delicate soprano” and praised her ”...polish performance of ...French cabaret song...(and her)...total mastery of the difficult Sprechtstimme...” She studied at the National Conservatory of Music in Argentina and holds a MM in Vocal Performance and a Ph.D. in Musicology from SUNY at Buffalo. Guillén has received scholarships from the Britten-Pears Institute (England), and worked closely to Karlheinz Stockhausen in Germany, later touring with his Indianerlieder around US, Canada and Argentina. As an active performer of contemporary music, she has appeared in venues such as: Chautauqua Institution, “New Music New Haven” of Yale University, June in Buffalo Festival, Museo Fernandez Blanco, Music Gallery at Toronto (Canada), Contemporary Music Festival UNCG, Catskills Choral Society, Washington’s Shakespeare Theater with Music Aperta. She has recorded for University of Arizona Recordings and Innova Records. A founding member of the word/music experimental group Lake Affect (1999-2002), for the past four years, she has been a regular soloist of the multidisciplinary concerts of the ensemble Musica Aperta in Washington DC. Her research interests encompass issues of text perception in vocal music with special emphasis in repertoire of the 20th and 21st centuries and Latin American popular music, presenting papers on these topics at IASPM-Latin America (Mexico 2002 and Brazil 2004), College Music Society, UNCG Greensboro, Universidad Nacional de San Juan (Argentina), Bates College (IN), and the American Institute of Graphic Art (Boston, USA). This Fall 2007, she has joined the music history faculty at UNCG Greensboro. Active as an oboe soloist, chamber, and orchestra musician, Thomas Pappas has performed throughout the United States, Germany, Hungary, the Czech Republic, and Wales. Recent solo appearances include performances of oboe concertos in Greensboro, NC and with the Aalen Symphony Orchestra in Germany, where he grew up and first learned how to play the oboe. Earlier this year Pappas was a featured soloist on the annual computer music concert XMUSE at the University of South Carolina. He enjoys performing new music and has premiered several works, including ones written for him by his brother Daniel. Pappas holds the BA degree from Grace College, IN, the MM from the University of North Carolina at Greensboro, and is currently working on the DMA at UNCG with Dr. Mary Ashley Barret. Cellist Gina Pezzoli is a member of the Greensboro Symphony Orchestra and the Fibonacci Chamber Orchestra. She maintains her own private studio and frequently performs as a substitute with the North Carolina Symphony, the Winston-Salem Symphony, and the Carolina Ballet. For the past three holiday seasons she has been a member of the ensemble-in-residence at the Homestead Resort in Hot Springs, VA. She is currently pursuing her DMA in Cello Performance at the University of North Carolina - Greensboro. She holds the MM in Cello Performance from UNCG and the BA in French and Music from the University of Virginia. Scott Rawls has appeared as soloist and chamber musician in the United States, Canada, Mexico, Japan, and Europe. Chamber music endeavors include performances with the Diaz Trio, Kandinsky Trio and Ciompi Quartet as well as with members of the Cleveland, Audubon and Cassatt String Quartets. His most recent CD recording, released on the Centaur label, features the chamber music of Samuel Coleridge-Taylor and was released summer 2004. His recording of chamber works for viola and clarinet was released spring 2003 on the same label. The ensemble, Middle Voices, will record another disc for Centaur featuring the chamber music of American composer, Eddie Bass. Additional chamber music recordings can be heard on the CRI, Nonesuch, Capstone, and Philips labels. Also a champion of new music, Rawls has toured extensively as a member of Steve Reich and Musicians since 1991. As the violist in this ensemble, he has performed the numerous premieres of The Cave and Three Tales, multimedia operas by Steve Reich and Beryl Korot, videographer. And under the auspices of presenting organizations such as the Wiener Festwochen, Festival d'Automne a Paris, Holland Festival, Berlin Festival, Spoleto Festival USA and the Lincoln Center Festival, he has performed in major music centers around the world including London, Vienna, Rome, Milan, Tokyo, Prague, Amsterdam, Brussels, Los Angeles, Chicago and New York. He is a founding member of the Locrian Chamber Players, a New York City based group dedicated to performing new music. Dr. Rawls currently serves as Associate Professor of Viola and Chair of the Instrumental Division in the School of Music at the University of North Carolina at Greensboro. Under the baton of maestro Dmitry Sitkovetsky, he plays principal viola in the Greensboro Symphony Orchestra. He is very active as guest clinician, adjudicator, and master class teacher at universities and festivals in America and Europe. During the summers, Rawls plays principal viola in the festival orchestra at Brevard Music Center where he also coordinates the viola program. He holds a BM degree from Indiana University and a MM and DMA from State University of New York at Stony Brook. His major mentors include Abraham Skernick, Georges Janzer, and John Graham. Ralph Wayne Reich, Jr. received his BM from the University of North Carolina at Greensboro and his MM from Syracuse University. He is currently pursuing his DMA having returned to UNCG. As an undergraduate, Reich was a member of the Gate City Camerata and the Contemporary Chamber Players. At Syracuse University, Reich served as Concertmaster of the University Symphony Orchestra and co-founded the Syrus Chamber Musician ensemble. Reich has taught violin lessons at SU, serving as an Affiliate Artist. He is a current faculty member at the Music Academy of North Carolina and performs regularly in the Triad area as a member of the Fibonacci Chamber Orchestra, the Salisbury Symphony, and as a freelance musician. Steve Stusek has earned an international reputation for virtuosic performances of standard and new works for the saxophone as well as for his engaging master classes and clinics. A founding member of both the acclaimed Red Clay Sax Quartet and the UNCG Quatuor d’Anches, he has won the prestigious Dutch Chamber Music Competition as part of the saxophone-accordion duo 2Track with Dutch accordion player Otine van Erp. Along with degrees from Indiana University (BM, DM) and Arizona State University (MM), Stusek has studied at the Paris Conservatoire and the Conservatoire de la Region de Paris, where he earned the Prix d'Or à l'Unanimité in saxophone performance. He is also founder and host of the Carolina Saxophone Symposium, a day-long conference held at UNCG each Fall, and dedicated to the highest level of saxophone performance and education. The CSS is open to all saxophonists at no charge. In addition to being performing artist for the Vandoren and Selmer companies, Stusek is on the faculty of the Blue Lake Fine Arts Academy. Anthony Taylor joined the UNCG School of Music faculty in 2007, and was also recently appointed as Principal Clarinet of the Winston-Salem Symphony. He is also an active solo, chamber, and jazz musician. This fall, he presented a paper on his research into John Adams’s clarinet concerto Gnarly Buttons in Bangor, Wales at the International Conference on Music and Minimalism. Recent performance highlights include the world premiere of Seattle composer Gail Gross’s Bossa Velha at the Washington State Music Teacher’s Association convention, solo performances with jazz piano master Dick Hyman, and the world premiere recording of Gregory Yasinitsky’s solo clarinet work For All That Has Been Given. He has been a member of the Spokane Symphony, the Boise Philharmonic, Spokane Opera and professional contemporary music ensemble Zephyr. He has been on the faculties of Washington State University, Eastern Washington University, Whitman College and Gonzaga University. Each August, Taylor also teaches at the Midsummer Musical Retreat, a week-long camp for adult amateur musicians. In summer 2007, he completed his doctorate at the University of Cincinnati College-Conservatory of Music, and also holds degrees from The Florida State University and Washington State University. Sarah Love Taylor, mezzo-soprano, graduated Phi Beta Kappa from the University of North Carolina at Chapel Hill with a Bachelor of Music in Vocal Performance and a second major in French. She took First Place in the 2007 NC National Association of Teachers of Singing auditions, where she also was awarded the Cate Continuing Education Scholarship. While at Carolina, she studied voice with Dr. Terry Rhodes and sang with the UNC Chamber Singers under the direction of Susan Klebanow. She currently studies voice with Dr. Elizabeth Linnartz and is employed as Program Associate with the NC Community Foundation in Raleigh. Ms. Taylor lives in Durham with her husband David and her cat Hobbes. The UNCG Contemporary Century Chamber Players specializes in contemporary literature for both instrumental and vocal chamber forces. Advanced students and faculty often perform side-by-side in concerts that cover a broad gamut of styles and traditionally feature at least one work by a North Carolina composer. The Players, who have appeared in such venues as Raleigh's North Carolina Museum of Art, have received several grants and have welcomed such distinguished composers as Thea Musgrave, Emma Lou Diemer, George Rochberg, Robert Ward and Michael Colgrass to campus. During the 1990s, the players performed by invitation at the world conference of the International Society for Music Education. The leadership of CCP is comprised of Mark Engebretson, Robert Gutter and Alejandro Rutty. Welborn E. Young, Director of Choral Activities and Associate Professor of Music, holds a BME degree and a MA in Conducting degree from Middle Tennessee State University and a DMA in choral conducting from the University of Illinois at Urbana-Champaign. Dr. Young teaches undergraduate and graduate conducting, graduate seminars in choral repertoire, German diction, and conducts the Women's Choir and Chamber Singers. In addition, Dr. Young is the Conductor of the Choral Society of Greensboro. He has served as guest conductor and clinician in festivals and clinics in North Carolina, Tennessee, Virginia, South Carolina, Washington D.C., Illinois, and Washington. Recently, His choirs have toured Austria, the Czech-Republic, Hungary, Italy, and England. He is the former Artistic Director and Conductor for Windy City Performing Arts, Inc. in Chicago. These ensembles received enthusiastic reviews in such papers the Chicago Sun Times, Chicago Tribune, and the Windy City Times. In the summer of 1998, Dr. Young was a featured festival conductor at the Concertgebouw in Amsterdam, Netherlands. That same summer he was guest conductor of Chicago's Grant Park Symphony Chorus and assisted with the preparation of their first recording. He has prepared and conducted the Nashville Symphony Chorus and appeared as guest conductor with the Nashville Opera Association. Ināra Zandmane, born in the capital of Latvia, Rîga, started to play the piano at the age of six. Zandmane holds a BM and MM from Latvian Academy of Music, MM in piano performance from Southern Illinois University at Carbondale, and DMA in piano performance from the University of Missouri at Kansas City. She has been the staff accompanist at the UNCG since 2003. She also served as the official accompanist for the MTNA Southern Division competition and the North American Saxophone Alliance conference in 2004. Zandmane has performed in recitals in St. Paul, Kansas City, Cleveland, St. Louis, and New York, as well as in many Republics of the former Soviet Union. In April 2000, she was invited to perform at the Glenn Gould Studio in Toronto. Ināra Zandmane has appeared as a soloist with the Latvian National Orchestra, Liepaja Symphony, Latvian Academy of Music Student Orchestra, SIU Symphony, and UMKC Conservatory Symphony and Chamber orchestras. She has performed with various chamber ensembles at the International Chamber Music Festivals in Riga, Vilnius, Tallinn, Helsinki (Finland), and Norrtelje (Sweden). For a few last years, Zandmane has worked together with the Latvian composer Peteris Vasks. She has given Latvian premieres of his two latest piano pieces, Landscapes of the Burnt-out Earth and The Spring Music, and recorded the first of them on the Conifer Classics label.
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Title | 2007-11-23 New Music [recital program] |
Date | 2007 |
Creator | University of North Carolina at Greensboro. School of Music, Theatre and Dance |
Subject headings | University of North Carolina at Greensboro. School of Music, Theatre and Dance;University of North Carolina at Greensboro |
Place | Greensboro (N.C.) |
Description | Fall 2007 programs for recitals by students in the UNCG School of Music. |
Type | Text |
Original format | programs |
Original publisher | Greensboro N.C.: The University of North Carolina at Greensboro |
Contributing institution | Martha Blakeney Hodges Special Collections and University Archives, UNCG University Libraries |
Source collection | UA9.2 School of Music Performances -- Programs and Recordings, 1917-2007 |
Series/grouping | 1: Programs |
Finding aid link | https://libapps.uncg.edu/archon/index.php?p=collections/controlcard&id=608 |
Rights statement | http://rightsstatements.org/vocab/NoC-US/1.0/ |
Additional rights information | NO COPYRIGHT - UNITED STATES. This item has been determined to be free of copyright restrictions in the United States. The user is responsible for determining actual copyright status for any reuse of the material. |
Object ID | UA009.002.BD.2007FA.999 |
Digital publisher | The University of North Carolina at Greensboro, University Libraries, PO Box 26170, Greensboro NC 27402-6170, 336.334.5304 |
Full Text | School of Music U N C G Tuesday, October 23 Preview Concert 12:30 pm West Market United Methodist Church “Tuesday Music” Series free Amy Dissanayake presents a selection of concert rags and tangos for piano 5:00 pm - Anders Åstrand, Workshop with Jazz Combo Room 140, free Concert I UNCG School of Music Recital Hall 7:30 pm $10/6/4/3 Abraham’s Eyes Were Darkened (2004) Benjamin Broening (b. 1967) UNCG Chamber Singers; Welborn Young, director Sonia Archer-Capuzzo, clarinet Kate Forman, bass clarinet Clarke Carriker, harp Joshua Bateson and Stephanie Sanders, percusison Sun Dance (2005) Matthew Quayle (b. 1976) Susan Fancher and Steve Stusek, alto saxophone Ināra Zandmane, piano Ragtime Set Graceful Ghost Rag (1970) William Bolcom (b. 1938) In Stride (2003) John Musto (b. 1954) Rozology (2000) John Halle Carnaval Noir Derek Bermel (b. 1967) Amy Dissanayake, piano Intermission Vamoalzamendi 2 Alejandro Rutty (b. 1967) Lorena Guillén, soprano Ballad I Norr Anders Åstrand (b. 1962) Anders Åstrand, vibraphone Mr. Groove Anders Åstrand Anders Åstrand, marimba Wednesday, October 24 10:00 - Rodney Waschka, Music and Theatricks Room 224, free Music and Theatricks Theatrics, n. 1. Of, relating to, or suitable for dramatic performance or the theater. 2. Marked by exaggerated self-display and unnatural behavior; affectedly dramatic. (American Heritage Dictionary) This talk will attempt to explain something about the composer's use of "tricks" of different types to handle the theatrical aspects of his music. Examples will be drawn from a variety of works including solo pieces, a trio (to be performed on the Wednesday night concert) a woodwind quintet, and the composer's trilogy of operas. Questions and comments welcomed. 12:00 - Anders Åstrand Rehearsal with Jazz Band Room 111, free 1:00 - Ivica Ico Bukvic, Beyond Computer Music - Reshaping Contemporary Arts through Technology Computer Lab - Room 116, free Beyond Computer Music—Reshaping Contemporary Arts through Technology The fate of Computer Music and technology are hopelessly intertwined. Although Computer Music genre is a relative newcomer to the Arts scene, its brief history, akin to that of computer-age technology, paints an image of a resilient and malleable form of art. In what appears to be one of many breakthroughs to come, this ongoing symbiosis has in recent years led towards a total breakdown of traditional boundaries that have for centuries served as bastions of art disciplines and their unique identities. This new intermedia kind of Art begs for a homo universalis, a person who is a polymath, a generalist, or a “jack of all trades.” Terms that used to bear negative connotations (especially for those seeking tenure), now paint a picture of a modern artist who seeks proficiency in multiple areas including music, visual arts, computer science and technology, theatre, and many more. We now face an age of multidisciplinarity in which ironically academia, arguably the very birthplace of the genre, continues to struggle with restructuring to address challenges and opportunities Interactive Multimedia Art has to offer. 2:00-4:00 - Anders Åstrand, Percussion Workshop Room 140, free Student Composers Concert Wednesday, October 24 UNCG School of Music Recital Hall 4:00 pm free Three Short Movements for Violin and Piano Kathleen Bader I. Walking II. Waiting III. Winding Wayne Reich, violin Ināra Zandmane, piano Regulated Action (2006) Braxton Sherouse I. springs II. just harmonics III. Coarse Tuning IV. the woodpecker octave V. monochromatic Amy Dissanayake, piano Fantasia per oboe e Electro (2007) Daniel Pappas Thomas Pappas, oboe with digital media Piano Suite Matthew Phelps I. II. III. Samee Griffith, piano Eternal Enamor Andrew Hannon I. Playful II. Fragile and Delicate III. Brash and Aggressive Ian Jeffress, soprano saxophone Aimee Fincher, piano Hagar’s Prayer Amy Scurria Sarah Love Taylor, mezzo-soprano Wayne Bennett, trumpet Amy Scurria, piano Reduce, Reuse, Recycle (2007) Alex Kotch Gina Pezzoli, violoncello Alex Kotch, bass clarinet Samee Griffith, piano Piano Sonata Paul Leary I. Homage to Linkin Park Paul Leary, piano with digital media Concert II Wednesday, October 24 UNCG School of Music Recital Hall 7:30 pm $10/6/4/3 Notturno Samantha DiRosa, video Ryan Hare (b. 1970), music Arioso/Doubles (2002) Benjamin Broening (b. 1967) Anthony Taylor, clarinet Good Luck and Bad Luck Rodney Waschka UNCG Contemporary Players Andrés Mila-Prats, coach Laura Pollard, flute Michael Dwinell, oboe Carlos Fuentes, piano Tango Set Septangle (1984) Frederic Rzewski (b. 1938) Piglia (2001) Pablo Ortiz (b. 1956) Tangrango, (Being a Brief Identity Crisis for Piano Solo) (1998) Hayes Biggs (b. 1957) Tandy’s Tango (1992) Lou Harrison (1917-2003) Tango? (1983) Conlon Nancarrow (1912-1997) Amy Dissanayake, piano Intermission Out of Doors Suite Part 2 (2003) Ivica Ico Bukvic, video and music (b. 1976) Mysterious Morning III Fuminori Tanada (b. 1961) Steve Stusek, soprano saxophone Piano Etudes David Rakowski (b. 1959) 40 Strident (2002, stride piano etude) 22 Schnozzage (1999, etude for melody in the nose) 41 Bop It (2002, bop etude) 14 Martler (1997, crossing hands etude) Amy Dissanayake, piano Free Improvisation/Jam Anders Åstrand, Amy Dissanayake and friends Thursday, October 25 UNCG School of Music 10:00-12:00 Composers Reading Session with Amy Dissanayake Recital Hall, free Works by UNCG student composers Minjeong Kim, Daniel Travis Clem, Michael Cummings, Matt Kalb, and Matt Johnson 1:00-2:30 Piano Masterclass with Amy Dissanayake Organ Hall, free 3:00-3:45 Shawn Okpebholo, Circleplay: Composer as Collaborator with Anthony Taylor, clarinet Room 223, free 4:00-5:00 Benjamin Broening, Speech, Sound, and Meaning in Alvin Lucier’s I am sitting in a room Composition History and Theory Lecture Series Room 217, free Speech, Sound and Meaning in Alvin Lucier’s I am sitting in a room Alvin Lucier’s 1969 landmark piece I am sitting in a room opens with a recording of Lucier reading a description of the means of the work’s realization. The piece unfolds according to the instructions offered at the piece’s opening: thirty-two iterations of the spoken text slowly transform from intelligible, if flawed, speech, into sustained and slowly changing pitches over the course of forty-five minutes. In this paper I use spectrograms to examine the process by which Lucier’s speech is transformed in two realizations of the work and compare the interactions of speech, sound, meaning and compositional process to works with voice on tape by Reich and Berio. Concert III Thursday, October 25 Weatherspoon Art Museum free 5:30 Reception 6:00 Bill Fontana 6:30 Time to go into installation/more Reception 7:00 Concert Weatherspoon Auditorium: In Two Worlds Morton Subotnick (b. 1933) Susan Fancher, alto saxophone Remarks by Judith Shatin Penelope’s Song Judith Shatin, music Kathy Aoki and Marco Marquez, video Susan Fancher soprano saxophone Break Weatherspoon Atrium: Energy Drink III Mark Engebretson (b. 1964) Scott Rawls, viola Circleplay Shawn Okpebholo (b. 1981) Anthony Taylor, clarinet L’accordeoniste Alejandro Rutty (b. 1967) EastWind Ensemble Mary Ashley Barret, oboe Kelly Burke, clarinet and bass clarinet Steve Stusek, saxophone Michael Burns, bassoon COMPOSERS/VIDEO ARTISTS AND PROGRAM NOTES Kathy Aoki received her MFA in printmaking from Washington University in St. Louis in 1994. Since then she has worked as a professional artist and teacher, exhibiting her prints, paintings, and sculptures at such venues as San Francisco, New York, Minneapolis, Los Angeles, Quito Ecuador, and Kobe, Japan. Permanent collections include SFMOMA, the Harvard University Art Museums, and the City of Seattle. This is her second animation project with composer Judith Shatin, whom she met during an artist residency at the MacDowell Colony. Aoki is currently an assistant professor of studio art at Santa Clara University, where she teaches computer arts. (see notes for Penelope’s Song under Judith Shatin) As a mallet specialist, Anders Åstrand regularly performs recitals and gives clinics throughout the US and Europe, both as a soloist and together with his percussion ensemble Global Percussion Network. Anders Åstrand has several times performed at PASIC (Percussive Arts Society International Convention). In his compositions, Åstrand focuses on improvisation as an essential feature for soloists as well as the ensemble. In addition to mallet music, Åstrand has been commissioned to compose for brass quintets, saxophone quartet, choirs, and big band. A more spectacular side features compositions for ice instruments to be performed by percussion ensemble (one of the concerts also featured fighter aircraft as instruments), tractors, and an entire building being inaugurated. Åstrand has also composed music for multimedia performances including dance, video projections, ice instruments, and fire sculptures. Anders Åstrand is a member of several groups: Global Percussion Network with Rolf Landberg, Daniel Saur, Anders Åstrand (mallet instruments and percussion), and Tomas Bohlin (sound creator). GPN is a groove-oriented percussion keyboard ensemble, performing unlimited music. Together with organist Mattias Wager in a duo, using free improvisation as the means to create dynamic, musical experiments. Cashew with Michael Gould (drums), Miles Osland (saxophone), Brad Townsend (bass), and Anders Åstrand (vibraphone and marimba) features original, powerful, expressive music. Sven Åberg (lute, theorbo) and Anders Åstrand (vibraphone, marimba, percussion) meet occasionally in various projects, e.g. a portrait of the German philosopher Ludwig Wittgenstein, and as the musical configuration of mathematics in a seminar on the Legacy of Mathematics. Ballad i Norr written in January I think it was 1990 in the night after a long day of teaching and it was really crazy cold. So, standing in the percussion room and improvising this tune came up. Mr Groove was inspired from a new series of mallets I just got sent to me. This piece came up; it was a nice groove to get these mallets! Kathleen Bader primarily grew up in the crowded spaces of the Northeast (Massachusetts and Pennsylvania) where she developed a taste for the flat expanse and solitude of deserts. She finally got to spend a significant amount of time in one when she received the Martin Dale fellowship from Princeton University, a fellowship that allowed her to write music in Arizona, hermit-style. Her vision is still adjusting from the horizontal orientation of deserts to the vertical direction of forests – she is now discovering the beauty to these tall, thick trees while studying here in North Carolina. Now a second year student in composition at Duke University, she is studying with Steve Jaffe, Scott Lindroth and Anthony Kelley. In 2004 she received her BA at Princeton University after working with Steve Mackey and Paul Lansky. I wrote the material for Three Short Movements for Violin and Piano at around the same time that I was taking a course in introductory drawing. In my drawing class, we often warmed up by doing quick figural sketches – we were given thirty seconds to convey a specific pose or movement as effectively as possible. In my training as a musician, there hasn’t been a complement to this type of exercise (in my experience, composition is often a painstakingly slow and meticulous process). However, the temporal aspect of these drawing exercises inspired me in a roundabout way, especially when thinking about what movement means in the visual arts versus what it means in music. In the visual arts, the movement of the artist during the process is often tangible. When looking at these figural sketches, you can sense the brevity of the process and the speed at which the artist moved - this brevity gives each sketch a certain concentrated energy, even if the pose or motion depicted is rather sedate. Unfortunately, I have not yet been able to compose any music of value in thirty seconds, so I wanted to achieve this energy of brevity in another way. As such, I made sure to keep each movement rather short so that the sense of mood and/or motion behind each movement would be experienced in a similarly concentrated way. Described as "an eclectic with wide open ears " Derek Bermel has been widely hailed by colleagues, critics, and audiences across the globe for his creativity and theatricality as a composer of chamber, symphonic, dance, theater, and pop works, and his virtuosity and charisma as a clarinetist, conductor, and jazz and rock musician. He studied ethnomusicology and orchestration in Jerusalem, and later traveled to Bulgaria to study the Thracian folk style, Dublin to study uillean pipes, and Ghana to study the Lobi xylophone. From the complex Bulgarian melodies in Tied Shifts, to Irish bagpipes coupled by Led Zepplin-inspired riffs in Voices, Bermel infuses his music with the rhythms and inflections of myriad folk traditions while maintaining a sophisticated and distinctive style of orchestration, harmony, and counterpoint.Bermel's many awards include the Rome Prize, Guggenheim and Fulbright Fellowships, awards from the American Academy of Arts and Letters and Faber Music. His music is published by Peermusic Classical (US) and Faber Music (UK). Hayes Biggs was born in Huntsville, Alabama, in 1957 and raised in Helena, Arkansas. He holds a doctor of musical arts degree in composition from Columbia University, a master of music degree from Southern Methodist University, and a bachelor of music degree in piano performance from Rhodes College. His teachers have included Mario Davidovsky, Jack Beeson, Fred Lerdahl, Donald Erb, and Don Freund. Biggs has been a fellow in composition at the Composers Conference and Chamber Music Center at Wellesley, at the Tanglewood Music Center, at Yaddo, and at the MacDowell Colony. In 1995 he was the recipient of a Fromm Foundation Commission to compose a work for Parnassus, When you are reminded by the instruments, which was premiered by that ensemble in March 1997. He was named a recipient of a John Simon Guggenheim Memorial Fellowship for the academic year 1998–99. Recently he was honored by an entry in the New Grove Dictionary of Music and Musicians, 2nd Edition, and he was named as one of five composers to receive a 2001 Aaron Copland Award. This award carries with it the opportunity for a residency at the Aaron Copland House in upstate New York for several weeks next year, where he will be free to devote himself entirely to composition. From 1991-2001 he was associate editor at C. F. Peters Corporation, and since 1992 he has been on the faculty of Manhattan School of Music. Most recently he has been awarded a commission by the American Composers Forum and the Mary Flagler Cary Charitable Trust to compose a group of haiku settings for the vocal quartet Kiitos. Professor William Bolcom, recipient of the 1988 Pulitzer Prize for Music, has received commissions from the Vienna Philharmonic (Salzburg Mozarteum), Philadelphia Orchestra, New York Philharmonic, Berlin Domaine Musical, Saarlandischer Rundfunk, American Composers Orchestra, Saint Louis, National, Pacific and Boston Symphonies, The MET Orchestra, Lyric Opera of Chicago, Mendelssohn Quartet, cellist Yo-Yo Ma, violinist Nadja Salerno-Sonnenberg, mezzo-soprano Marilyn Horne, and many others. As piano soloist, accompanist (primarily with his wife, mezzo-soprano and School of Music, Theatre & Dance faculty member, Joan Morris), and composer, Professor Bolcom is represented on recordings for Nonesuch, Deutsche Grammophon, RCA, CBS, MHS, Arabesque, Jazzology, Vox, Advance, CRI, Phillips, Laurel, First Edition, Newport Classics, Omega, Vanguard, Argo, Koch Classics, Crystal, New World, Centaur, Folkways, Naxos, and many others. He joined the University of Michigan faculty in 1973, was the 1977 recipient of the Henry Russel Award and the 1997 Henry Russell Lectureship, and was appointed Ross Lee Finney Distinguished Professor of Composition in 1994. Benjamin Broening is a composer of acoustic and electroacoustic music. His numerous commissions include works for the Charlotte Symphony, the Choral Arts Society of Philadelphia, the Band and Orchestral Division of Yamaha Corporation of America, the Arts Now Series at North Carolina State University, the James River Singers among many others. A recipient of the Presser Music Award, Broening has also received recognition and awards from the American Composers Forum, Virginia Commission for the Arts and the Fulbright Foundation. His music has been recorded on the Centaur, everglade, Equilibrium, MIT Press and SEAMUS labels. Broening is founder and artistic director of Third Practice, an annual festival of electroacoustic music at the University of Richmond, where he is Associate Professor of Music. He holds degrees from the University of Michigan, Cambridge University, Yale University, and Wesleyan University. In Fear and Trembling, Kierkegaard uses the story of Abraham and Isaac to explore the idea of faith. Genesis provides the broad outlines of the narrative but doesn’t say much about what each of those involved were thinking or feeling. Kierkegaard fills that void by imagining the reactions of Abraham and Isaac four different ways. Abraham’s Eyes Were Darkened is a setting of the second of those re-imaginings. In this version of the story, Kierkegaard imagines the effect on Abraham: “From that time on Abraham became old, he could not forget that God had required this of him. Isaac throve as before, but Abraham's eyes were darkened, and he knew joy no more.” Abraham’s Eyes Were Darkened was commissioned by the James River Singers, Jeffrey Riehl, director. Arioso/Doubles (2002) was commissioned for Arthur Campbell by the Band and Orchestral Division of the Yamaha Corporation of America. Its title reflects the piece's indebtedness to vocal music and to 17th century opera in particular. The piece is not meant to evoke the harmonic or stylistic language of early-to-mid 17th Italian opera. Rather, the title refers to changing nature of the melodic line that moves fluidly among declamatory or recitative-like passages, short melodic phrases and longer, more strongly characterized lines. Arioso/Doubles is the third work in a series of pieces for solo instrument and computer. Doubles is a term used in 17th and early 18th century French music for a technique of variation in which more or less elaborate ornamentation is added to the original melody, while the supporting harmonies remain constant. The Doubles series takes this idea as its starting point and applies the variation technique to the timbre of the soloist as well as the pitched material. The computer also responds to the clarinet’s music; sometimes confirming (doubling) and summarizing, sometimes extending, altering or recontextualizing the clarinet’s melodic and harmonic material. The art of composer and multimedia sculptor Ivica Ico Bukvic (b.1976) is defined by the ubiquitous interactivity. Fueled by a synergistic outlook, his work is a balancing act between scientific research of new multimedia technologies for the purpose of betterment of the overall quality of life and a pursuit of new forms of artistic expression using newfound technologies. This passion for art and technology coupled by a traditional music background has empowered him to defy preexisting forms and even challenge the very foundations, yet do so without sacrificing their lasting appeal. His opus encompasses aural and visual, acoustic and electronic, performances and installations. In part supported by grants, commissions, and awards (ASCAP, SEAMUS, SAI, Upbeat, VT CLAHS), his creations have received international exposure through music festivals (ICMC, SEAMUS, Spark, FEMF, CMS, EMM, IEMF, LAC, MusicX, OCEAn, gmem), radio stations, concerts, and Internet. His research (including grants from UC UGS, VT CEUT, VT CLAHS, ISCE, VT Foundation, Croatian Ministry of Science, Education, and Sports) has produced a number of software contributions to the multimedia art community (RTMix, RTcmix instruments, Soundmesh, Superkaramba, Pure-Data, Max/MSP) and has been published in journals, magazines, and conference proceedings, such as Organised Sound, Spark, LAC, ICMC, Linux User & Developer, and Array. Ico maintains an active career as a scholar and researcher; prior to joining Virginia Tech, he taught at the Oberlin College, Cincinnati’s College-Conservatory of Music (CCM), and has served as a visiting lecturer at various festivals and workshops. As the author of the first-of-a-kind "Linux & Multimedia" curriculum at CCM and Virginia Tech, and the elected Director of the international Linuxaudio.org consortium, he has a soft spot for libre software. Currently, he is also serving as the elected Board member and treasurer for the Society for Electro-Acoustic Music in the United States (SEAMUS). Having received doctorate at the College-Conservatory of Music in Cincinnati (2005), Dr. Bukvic is currently working at Virginia Tech as an assistant professor in music composition & technology, the founder and director of the new Digital Interactive Sound and Intermedia Studio (DISIS), the music technology and interactivity faculty in the new Collaborative for Creative Technologies in the Arts and Design (CCTAD) interdisciplinary program, and as a member of the Center for Human-Computer Interaction (CHCI). An apparently random title with the [not so] subliminal references to Bela Bartok’s legacy, in a desperate author’s attempt to [quite blatantly] cash in on such an association, as well as in part due to utter sleep deprivation which had eventually resulted in a flu with benefits, Out of Doors Suite Part 2 therefore stands as an unauthorized [and arguably abysmally botched] sequel [as usually all commercial sequels and prequels are] to its forerunner. Dubiously, through interference of the [sparse] gray matter of its deranged parent [no, not Bartok, the other guy] the idea inexplicably grew into a buoyant play on words and stereotypes of our times…To put it bluntly, if you ever wondered what Monty Python would do if they did electroacoustic music… The work of Samantha DiRosa explores the precariousness of memory and history and our societal fixation with documenting and classifying experience. DiRosa draws inspiration from institutional, cultural, and personal archives and she is concerned with issues of permanence, evidence, and truth within the context of these archives. Her hybrid media installations unite scientific inquiry with esoteric questions and manifest via the vehicles of book arts, video, sound, sculpture, and photography. DiRosa’s work has been exhibited widely, and includes solo and group exhibitions at Portland Art Center (Portland, OR), Keki Gallery (Budapest Hungary), 1078 Gallery (Chico, CA), TIXE Artspace (New York, NY), Manifest Creative Research Gallery (Cincinnati, OH), and Fort Collins Museum of Contemporary Art (Fort Collins, CO). DiRosa holds MFA's in both Photography and Digital Arts from the University of Oregon and a BFA from Long Island University in New York. She is currently on the faculty of Elon University. Notturno (2007) was conceived as a collaborative project between bassoonist and composer Ryan Hare and hybrid-media artist Samantha DiRosa. The music is two excerpted movements from Hare's Sinfonia: Six Pieces in Memoriam John Cage (2000). These movements are entitled Nachtmusik I and II (in an oblique homage to Gustav Mahler's Seventh Symphony), and are night music in the Bartokian sense of the word. Hare had for some time thought of extracting these two movements into a separate composition, and this project proved to be the ideal opportunity. Concerning the music used in the two movements and here in Notturno, Hare wrote, "The sound sources include a recalcitrant steam radiator from an old apartment I once lived in, which used to awaken me daily in the brutally early hours of the morning. After cursing the primitive technology, I sometimes tried to adopt a more constructive attitude and hear the radiator noises as a composition." DiRosa’s accompanying video consists of footage captured from the Costa Rican rain forest and the Museum of Natural History in New York, purposely recorded at a slow frame rate with a low resolution digital still camera. Akin to her earlier work, issues surrounding the technological mediation of nature and experience manifest in this collage of pixelated moving images. Mark Engebretson (b. 1964) is Assistant Professor of Composition and Electronic Music at the University of North Carolina at Greensboro. His compositions have been presented at festivals such as ICMC (International Computer Music Conference), Bowling Green Festival of New Music and Art, Third Practice Festival, Wien Modern (Vienna), Gaida Festival (Vilnius, Lithuania), Sonoimagenes (Buenos Aires) Hörgänge Festival (Vienna), Ny Musikk (Bergen, Norway), Indiana State University New Music Festival (Terre Haute, Indiana), the Florida Electroacoustic Music Festival, ISCM Festivals (Tirana, Albania and Baku, Azerbaijan), the UNCG New Music Festival and World Saxophone Congresses (Pesaro, Italy, Montreal, Canada, Minneapolis, Minnesota and Ljubljana, Slovenia). Recent performances include premieres by UNCG’s EastWind Ensemble at Carnegie Hall, the SUNY Fredonia Wind Ensemble at a College Band Director’s National Organization (CBDNA) regional conference, the Wroclaw (Poland) Philharmonic Orchestra, a presentation by the Jacksonville Symphony and a three-night, sold out engagement featuring Winter Ashes, with dance and video by John Gamble. Since its completion in January 2006, SaxMax for saxophone and interactive electronics has received eleven performances worldwide. She Sings, She Screams for alto saxophone and digital media has been performed countless times worldwide, and has been released on three commercial compact disc recordings, two of which are on the Innova label. Other works on CD include Nesseln (Arizona University Recordings American’s Millennium Tribute to Adolphe Sax, Volume VIII, AUR CD 3121); Duo Concertante (recorded twice, both due for release soon); and Events (to be included on FEMF vol. 2 proceedings disc). A composer-feature disc of chamber music was released in 2007 (Innova 645). Dr. Engebretson taught composition at the University of Florida, music theory at the SUNY Fredonia and 20th-century music history at the Eastman School of Music. He studied at the University of Minnesota (graduating Summa cum Laude), the Conservatoire de Bordeaux (as a Fulbright Scholar), and Northwestern University, where he received the Doctor of Music degree. At Northwestern he studied composition with M. William Karlins, Pauline Oliveros, Marta Ptaszynska, Michael Pisaro, Stephen Syverud and Jay Alan Yim and saxophone with Frederick Hemke. His teachers in France were Michel Fuste-Lambezat and Jean-Marie Londeix. With the completion of Energy Drink III, I can finally speak of the Energy Drink pieces as a series, which it has been my intention to create for a number of years. These pieces are intense, energetic and demanding works, demanding a virtuoso performance from both the player and composer. Energy Drink III was commissioned by my colleague and friend, violist Scott Rawls. This piece is, in essence, a blues, with a chord structure derived from this form stretched out one time over the entirety of the short work, thus forming the harmonic plan for the whole. I wanted to work with (varied) repeatability in this piece, so material you hear once, you may hear again. There are a myriad of localized harmonic schemes and motivic variations overlaid onto the basic harmonic scheme, considerable amount of work with sound, timbre, rhythm and meter. My conception of harmony may seem somewhat distant from the inspiration, but ultimately, it is all derived from the blues. Bill Fontana has worked for the past 30 years creating installations that use sound as a sculptural medium to interact with and transform our perceptions of visual and architectural settings. These have been installed in public spaces and museums around the world including San Francisco, New York, Paris, London, Berlin, Venice, Sydney and Tokyo. His sound sculptures use the human and/or natural environment as a living source of musical information. He is assuming that at any given moment there will be something meaningful to hear and that music, in the sense of coherent sound patterns, is a process that is going on constantly. His methodology has been to create networks of simultaneous listening points that relay real time acoustic data to a common listening zone (sculpture site). Since 1976 he has called these works sound sculptures. He has produced a large number of works that explore the idea of creating live listening networks. These all use a hybrid mix of transmission technologies that connect multiple sound retrieval points to a central reception point. What is significant in this process are the conceptual links determining the relationships between the selected listening points and the site-specific qualities of the reception point (sculpture site). Some conceptual strategies have been acoustic memory, the total transformation of the visible (retinal) by the invisible (sound), hearing as far as one can see, the relationship of the speed of sound to the speed of light, and the deconstruction of our perception of time. From the late 90”s until the present his projects have explored hybrid listening technologies of acoustic microphones, underwater sensors (hydrophones) and structural/material sensors (accelerometers). He has also realized and is developing projects that access live seismic networks to explore the sound energy of ocean waves, traveling long distances underground. Spiraling Sound Axis is a sound sculpture by artist Bill Fontana recently installed in the Weatherspoon's sculpture courtyard, and receiving it’s official inauguration at the 2007 UNCG New Music Festival. Spiraling Sound Axis consists of custom-made recordings of familiar North Carolina sounds that Fontana collected throughout the state between 1991 and 1993. The artist traveled around the state recording sound samples that represent the state's history, industry, people, culture, and environment. A thunderstorm in Wilmington, a tobacco auction in Wilson, Cherokee storytellers, a fiddler's convention in Mount Airy, morning preparations at Old Salem, waves crashing at the coast, birds, frogs, and geese are just a few of the hundreds of sounds Fontana recorded and wove into his piece. The work itself is made up of three CD players, 4 amplifiers and 8 speakers. The taped sounds will be heard randomly throughout the Weatherspoon courtyard. John Halle is an assistant professor of music at Yale University. He has studied with Fred Lerdahl at Columbia, Andrew Imbrie at UC Berkeley, and at the University of Michigan with William Bolcom and William Albright. He has also studied privately with John Harbison in Italy and at Tanglewood. Halle's music includes Operation Chaos commissioned by the Bang on a Can All- Stars, Structural Adjustment for the Common Sense Composers' Collective, recorded on the group's first CD on the CRI label and Softshoe for brass quintet, recorded on the Meridian Arts Ensemble's Channel Classics CD Smart Went Crazy. His recent work includes Gaze premiered at the Chamber Music of Lincoln Center Double exposure series and Mortgaging the Earth on a text by former Treasury Secretary Lawrence Summers premiered by the New York new music ensemble Sequitur. For many years a jazz pianist in San Francisco and New York, he has performed with Sonny Stitt, Tom Harrell, Mark Levine and Woody Shaw. He has also performed widely as a new music pianist having premiered works by American composers in Russia, Estonia, Germany, at the Bang on the Can Festival in New York, on recordings by Julia Wolfe and Evan Ziporyn and at composer's concerts at Columbia and Princeton. An a occasional writer on music, Halle has published collaborative work with Fred Lerdahl on the relationship of musical and linguistic generative grammars. He is currently working with Edward Harsh on "Themes and Provocations" a selection of interviews with and essays about younger composers. Andrew Hannon is currently working as a graduate assistant at The University of South Carolina where he is working on his DMA in Composition. Andrew has also received his MM in Composition/Theory and a BM in Music Education from Southern Illinois University. As a Composer, Andrew has studied with John Fitz Rogers, Reginald Bain, Frank Stemper, and Kathleen Ginther, as well as masterclasses with Paul Lanksy, Bernard Rands, and Jacob ter Veldhauis. His compositions use a mixture of complex rhythms, nearly atonal harmonies, and generous use of electronics to create a texture that is both familiar and unexpected. In 2005 Andrew won the Carl Deis Award for "The Places We Hide". Eternal Enamor is divided into three movements that trace the personal emotions related to the process of desire and dissatisfaction. The first movement represents a playful nature in which one is enticed and courted by a sense of fulfillment. The second movement is a bittersweet mixture of emotions beginning with satisfaction and then moving to a realization that the attraction has now faded. The third movement begins with a sense of disillusionment filled with angst and frustration only to culminate with a new attraction. “My stomach's always been a liar- I'll believe its lies again.” (Aaron Weiss, I never said that I was brave) Ryan M. Hare, originally from Reno, Nevada, teaches composition, music theory, and studio bassoon at Washington State University, is the bassoonist for the Solstice Wind Quintet, holds the position of principal bassoon with the Washington-Idaho Symphony, and is a member of the Seattle-based new music ensemble Affinity. He earned the degree Doctorate of Musical Arts in Composition from the University of Washington; his other degrees include a Master of Music in Composition from Ithaca College and a Bachelor of Arts in Music from Oregon State University. Recently, he was honored to be selected for the Washington Composers Forum "Composer Spotlight" series at Jack Straw Productions in Seattle, and in 2006 he was awarded a prestigious, unrestricted fellowship from Artist Trust. Hare's compositions have been performed in many venues throughout the United States, in Chile, and also at the Ferienkurse fuer Neue Musik in Darmstadt, Germany. As a bassoonist, he has been active as a freelance performer since high school, and has performed in professional orchestras in many places across the U.S.; this includes freelancing with many of the leading orchestras in the Puget Sound region, such as the Seattle Symphony, Northwest Sinfonietta, Tacoma Symphony, and Bellevue Philharmonic. He has been particularly energetic as a supporter of new music, and has commissioned or premiered a very large number of new works by a variety of composers. A compact disc featuring contemporary pieces performed by Hare for solo bassoon and bassoon with electronics is available on the Present Sounds Label. (see notes for Notturno under Samantha DiRosa) Lou Harrison has for fifty years been in the vanguard of American composers. An innovator of musical composition and performance that transcends cultural boundries, Harrison's highly acclaimed work juxtaposes and synthesizes musical dialects from virtually every corner of the world. Born in Portland, Oregon, on May 14, 1917, Lou Harrison grew up in the culturally diverse San Francisco Bay Area. There he was influenced by Cantonese Opera, Gregorian chants and the music of California's Spanish and Mexican cultures. Harrison also developed an interest in Indonesian Gamelan music through early recordings. As a young man, Lou Harrison (1917 - 2003) worked as a dancer and a dance accompanist. His early compositions included a large body of percussion music, combining Western, Asian, African and Latin American rhythmic influences with homemade 'junk' instruments. During this period, Harrison worked closely with John Cage and began studies in Los Angeles with Arnold Schoenberg. A move to New York in the mid-forties brought Harrison to the Herald Tribune as music critic. Here Harrison helped to bring wider attention to the work of Charles Ives, and is considered largely responsible for Ives' receiving the Pulitzer Prize. The young composer and critic also embarked on a study of early European music during this period. In the late forties, Harrison taught at the legendary Black Mountain College. By the early fifties, he moved back to California, where he has lived ever since. Residence on the West Coast intensified Harrison's involvement in a synthesis of musical cultures bordering on the Pacific, reflected in such works as Pacifica Rondo and Lo Koro Sutro for chorus and gamelan. Over the decades, he maintained an interest in dance, theater and the craft of instrument building and was an accomplished puppeteer who composed music for puppet theater. Harrison traveled extensively, adding to the global resonance his artistry, performing and studying with the musical masters of varied cultures, and presenting his work to enthusiastic audiences everywhere. Michael Tilson Thomas acknowledged Harrison's mastery by commissioning him to compose Parade for M.T.T. the first piece of music Tilson Thomas conducted as Music Director of the San Francisco Symphony. Performers such as Keith Jarrett, Yo-Yo Ma, The Mark Morris Dance Group and Dennis Russell Davies also premiered Harrison's music. Alex Kotch, a Chapel Hill native, received a Bachelor of Arts degree in Music from Brown University in 2006, where he played clarinet and saxophone in the orchestra, jazz band, and Brown New Music, an ensemble he co-founded in 2004. His compositions and sound-art have been performed or installed in Rhode Island, Massachusetts, Connecticut, California, Ohio, and North Carolina. His mentors include Todd Winkler, Alvin Lucier, Ed Tomassi, Martin Bresnick, and Stephen Jaffe. He is currently in his first year of Duke’s Ph.D. program in Composition. The title (Reduce, Reuse, Recycle) reflects the history of the work’s main musical material. It originated in 2004 as a four-part choral piece, but something was missing. I reduced the work to selected elements and reused it in its next form, a 13-part clarinet choir, in 2005. This ensemble never did come together, and I put the material on hold for over a year. Finally, I reworked it into a transformed, or recycled, version for saxophones and piano. At the request of Thierry Pécou, I arranged it for clarinet, cello, and piano for Ensemble Zellig. Paul Leary born in Southern California in 1974. His 1997 piece, A Man Adrift on a Slim Spar , was a finalist in the BMI Young Composers Competition. In 1997 he attended the University of Michigan and in 1999 received his Bachelor's in music Composition. There he studied with William Albright, Erik Santos, and Michael Dougherty. His graduate work brought him to the Cleveland Institute of Music (CIM), where he received his Masters in Music Composition in May 2002. He also attended the summer program, La Scola Catorum in Paris, France under the direction of Phillip Lasser. During his studies at CIM, Paul taught music theory for non-majors at Case Western Reserve University (CWRU). Paul Leary was one of the contributing orchestrators for Contemporary Youth Orchestra concert Classical Nash. In the fall of 2003, the Contemporary Youth Orchestra commissioned Paul for Concerto for Trumpet, Turntables, and Orchestra for their December concert. Paul's piece, Horn Sonata was premiered by Richard King, principle horn of the Cleveland Orchestra in the spring of 2003. In April 2004, Paul orchestrated, arranged and transcribed the Contemporary Youth Orchestra's concert with Jon Anderson, lead singer of Yes. In 2005, Paul orchestrated and arranged a concert with four-time Grammy Award winning artist Pat Benetar. Paul's music has also appeared in the concert series at Mather Dance Center in Cleveland, Oh, from 2002-6; contributing works for String Quintet, Electronics, Cello and Piano, Clarinet and Piano, and solo Piano. Paul's most recent work, "I have a Past Life Memory of the War that Blew the Fifth Planet into the Asteroid Belt" for sax quartet and electronics was chosen as a finalist at the 2007 International Computer Music Conference in Copenhagen, Denmark. In 2005, Paul became a part-time lecturer at Case Western Reserve University teaches computer music. In 2005, Paul Leary began working towards his PhD in Music Composition at Duke University. Currently, Paul is taking a leave of absence from his studies at Duke to teach theory, composition, and music history full time at Denison University in Granville, OH. Piano Sonata for solo piano and electronics is a work in progress. This first movement reflects my love of popular genres such as trip hop, hip-hop, electronic music, and metal. More and more my "concert" works are being influences by popular genres and electro-acoustic music; groups such as Linkin Park, PortisHead, múm, The Books, and Massive Attack play pivotal roles in my artistic thinking. Most of the electronics in this work are drawn from an extensive library of samples I took from my piano at home. Marco Marquez received his MFA in Computer Art from the New York School of Visual Arts in 1999, specializing in 3-d modeling and animation. After returning to California, Marco worked as a lead/senior designer at multiple design agencies in Silicon Valley, designing and producing web design, brochures, and corporate branding. Marco currently lectures at Santa Clara University's Art department, where he teaches 3D, computer art, and graphic design courses. His fine art interests include painting, digital and mixed media. This is his first collaborative animation with artist Kathy Aoki and composer Judith Shatin. (see notes for Penelope’s Song under Judith Shatin) Award-winning composer and pianist John Musto is regarded as one of the most versatile musicians before the public today. His richly allusive and eclectic style wedded to an exacting compositional technique has won him critical and audience acclaim throughout the world. Mr. Musto was a finalist for the 1997 Pulitzer Prize for his orchestral song cycle Dove Sta Amore. He has also garnered two Emmys and two CINE Awards for his scores written for television. In 2000 he was awarded a Rockefeller Fellowship at Bellagio, Italy. Mr. Musto has been featured on the Great Performers series at Lincoln Center and the Composer Portrait series at Columbia’s Miller Theater. John Musto has been a visiting professor at Brooklyn College and is a frequent guest lecturer at the Juilliard School and the Manhattan School of Music. As a pianist, Mr. Musto has recorded for Harmonia Mundi, Nonesuch The Milken Archive, CRI and EMI, and his compositions have been recorded for Hyperion, Harmonia Mundi, MusicMasters, Innova, Channel Classics, Albany Records and New World Records. The expatriate American experimentalist composer Conlon Nancarrow is increasingly recognized as having one of the most innovative musical minds of the twentieth century. His music, almost all written for player piano, is the most rhythmically complex ever written, couched in intricate contrapuntal systems using up to twelve different tempos at the same time. Yet despite its complexity, Nancarrow's music drew its early influence from the jazz pianism of Art Tatum and Earl Hines and from the rhythms of Indian music; Nancarrow's whirlwinds of notes are joyously physical in their energy. Composed in almost complete isolation from 1940, this music has achieved international fame only in the last few years. Shawn E. Okpebholo, age 26, joined the faculty of Northern Kentucky University in 2007 as Lecturer in Music Theory and Composition. His previous teaching experiences include the University of Cincinnati, College Conservatory of Music and Cincinnati State Technical and Community College. In addition to his duties at NKU, Dr. Okpebholo is an active composer and arranger. His music has been performed in over twenty-five states, Canada, and Europe by many diverse performers and ensembles. Some, of which, include the United States Army Field Band, Blue Ash/Montgomery Symphony Orchestra, Cincinnati Chamber Players, Royal Belgian Navy Band, and Soprano Tamara Wilson of the Houston Grand Opera. His success as a composer has also included publications with both domestic and international publishing companies, radio broadcasts, and commissions by major organizations, such as the United States Air Force Band of Mid-America, the Ohio Music Education Association, and the International Tuba and Euphonium Association. Dr. Okpebholo has studied with the late “Disney Legend,” Buddy Baker, at New York University in an ASCAP-sponsored film-scoring workshop. He was nationally selected to be a part of the National Band Association and Bands of America’s Young Composer Mentor Project. He has twice won the Kentucky Music Educators Association All-College Composition Contest and is a three-time winner of Asbury College’s Peniston Honors in Composition. Since becoming a member of ASCAP, he has received annual awards. Dr. Okpebholo is currently on the Board of Advisors of the Blue Ash/Montgomery Symphony Orchestra, a member of ASCAP, Society of Composers Incorporated, and is the Artistic Director of The Eden Project, a contemporary chamber music ensemble. Dr. Okpebholo received his B.A. in music composition and musicology from Asbury College where he studied composition with James Curnow and Ronald Holz. In 2007, Dr. Okpebholo received is D.M.A. in composition with a minor concentration in music theory from the University of Cincinnati, College-Conservatory of Music, where he also received his M.M. At CCM, Dr. Okpebholo studied composition with Joel Hoffman and Michael Fiday, electro-acoustic and computer music with Mara Helmuth, and jazz composition with Paul Piller. Circleplay originally composed for solo clarinet and digital delay (Digitech TRS-24) is a result of my long time desire to compose an electro-acoustic composition. I first heard Anthony Taylor use digital delay during a performance of Thea Musgrave's Narcissus. I was so fascinated by that performance that I had decided to compose a piece using similar delay techniques. A year later came Circleplay . For this composition to be successful, it is important that the performer play with rhythmic integrity in order accomplish the correct groove. This will also result in the performer playing off of and in canon with him or herself. You will see why I call Anthony a clarinet virtuoso. I would like to give special thanks to Thomas Royal for working many hours in converting the Digitech TSR-24 delay effects to Max/MSP. Pablo Ortiz was first trained in his native Buenos Aires, where he received a degree from the Universidad Catolica Argentina. At 27, he moved to New York to study at Columbia University. He studied composition with Mario Davidovsky, , Chou Wen Chung, Jack Beeson , Jacques Louis Monod, Fred Lerdahl, Gerardo Gandini, and Roberto Caamano. At present, he is Professor of Composition at the University of California, Davis. He taught composition and was co-director of the Electronic Music Studio at the University of Pittsburgh from 1990 to 1994. His music has been heard at international festivals in Salzburg (Aspekte), Geneva (Extasis), Strasbourg (Musica), Havana, Frankfurt, Zurich, Sao Paulo and Mexico City. He was a fellow at the Composers' Conference at Wellesley College in 1986 and 1988, and he was commissioned by the Fromm Foundation in 1992. In 1993, he received a Guggenheim Fellowship. In 1996 he received the Charles Ives Fellowship from the American Academy of Arts and Letters. In 1999 he was commissioned by the Koussevitzky Foundation to write a piece, Raya en el mar, for the San Francisco Contemporary Music Players. In 2000 he received a grant from Fideicomiso para la cultura Mexico-US to write children's songs based on poems by Francisco Alarcon, renowned Chicano poet and Mission artist. Daniel C Pappas is currently pursuing his DMA in composition at the University of South Carolina where he studies with Dr. John Fitz Rogers and Dr. Reginald Bain. Daniel received his undergraduate degree from Grace College, Indiana in violin performance in 2003, and a Masters degree in composition from the University of North Carolina at Greensboro in 2006 where he studied with Mark Engebretson. Having grown up in Southern Germany he received training in violin, piano, the recorder and theory/composition from an early age at the Musikschule Aalen. His teachers include Stefan Kueling and the composer Henning Brauel. Daniel’s first notable performance took place in Heubach, Germany with the Rosenstein Kammerorcherster in 2004. In 2006, The Silence about Heaven a piece for orchestra was premiered by the UNCG Symphony having been selected as the winner of the University’s annual concerto competition. This same work was presented a few months later in Germany as part of the Rosenstein Kammerorchester’s centennial celebration. Fantasia per Oboe e Electro Continuo (2007) is the second installment in a series of works dedicated to and commissioned by my brother and highly talented oboist Thomas Pappas. Built around a simple A-B formal plan, this piece was inspired by literature on human pain and the basic human condition. Section A is meant to explore the debilitating effects of a hopeless existence, whereas section B is a reflection of the beauty in pain in which to find redemption and the knowledge of truth. The electronic accompaniment was created with the use of the computer programs Absynth, Vegas, and Cubase. In an effort to enhance the beautiful sound of the oboe and blend it with the Continuo, the instrument is slightly amplified and run through a reverb-unit. A special thanks goes to tonight’s performer, who has been a tireless champion of new music and who continues to exceed all my expectations for what my music can sound like. Matthew Phelps is a composer and conductor from Cincinnati, OH. He currently is the music director for St. Aloysius Gonzaga Church and Women In Song. His choral compositions have been performed by Churches throughout the United States and are published by Kjos and Roger Dean Publishing. He has written underscores for new productions of The Crucible and Romeo and Juliet at Wright State University and is currently working on a musical that will be premiered in Cincinnati in the summer of 2008. He studies with San Francisco composer David Conte. Three piano pieces were written while a student at the College Conservatory of Music in Cincinnati. These pieces infuse dance rhythms, jazz, and modern classical harmonic styles. The first movement takes the cross rhythm of a jazz waltz and melds it will percussive opening theme. The theme abruptly ends and melds with a devilish 2-part invention until the theme returns. The second movement was conceived as a modern minuet in free style. It uses modal writing; which makes it sound almost impressionistic. It also employs a strict accompaniment in the left hand while the melody is very free; an interesting juxtaposition reminiscent to people trying to impose time on a timeless universe. The final movement uses Latin Jazz its inspiration and is a fun short work for pianist and listener. Matthew Quayle (BMI) joined the UNCG School of Music as Lecturer in 2007. In recent years his music has been performed by Alarm Will Sound, the Arditti String Quartet, the Avalon String Quartet, eighth blackbird, the International Contemporary Ensemble (ICE), and the Southeastern Trio. He has also received commissions from the Almeida Theatre in London, the New London Children’s Choir, flutist Claire Chase, saxophonist Gail Levinsky, and cellist Ashley Sandor Sidon. In 2007 his string orchestra piece Gridley Paige Road received both the Grand Prize and the People's Choice Award in the Adagio Composition Contest of the Fauxharmonic Orchestra. He composed the introduction to the ‘Round Midnight Variations, a collection of variations by prominent contemporary composers on the Thelonius Monk theme; this work was premiered by pianist Emanuele Arciuli at New York’s Miller Theater in 2002. Quayle frequently performs as a piano soloist and chamber musician. Recent collaborations have included recitals with clarinetist Deborah Andrus, cellist Jameson Platte, and flutist Elizabeth Ransom, He was also featured as a composer and performer at the 2006 Glens Falls Symphony Musicbridge Festival. In 1998 he performed his Concerto for Piano and Orchestra with the Oberlin Chamber Orchestra, as winner of the Oberlin Conservatory Concerto Competition. Quayle has served on the faculty at New England Music Camp in Sidney, Maine since 2002. A doctoral candidate at New York University (GSAS), he holds a BM from Oberlin Conservatory and a MM from the University of Cincinnati. Sun Dance (2005) is an eight-minute fantasia for two alto saxophones and piano. The mood is primarily light and exuberant, drawing from jazz, blues and minimalist styles. The two saxophones are often paired and interlocked to create a "super-saxophone". Key clicks are used in the central section to simulate a spontaneous improvisation of drums or clapping. This piece was commissioned by Gail Levinsky, who recorded it in May 2006 at UNCG with Susan Fancher and Inara Zandmane. The live premiere took place at the Penn State Convention of the North American Saxophone Alliance in January 2007. David Rakowski has received a number of awards and fellowships, and has twice been a finalist for the Pulitzer Prize in Music, and won the Barlow Prize in 2006. He has composed five concertos, three symphonies, 81 piano etudes, four song cycles, and a large amount of wind ensemble music and chamber music for various combinations. His music has been performed and recorded widely and is published by C.F. Peters. He is currently the Walter W. Naumburg Professor of Composition at Brandeis University. Rakowski writes: I write music. Concert music. Texas tea. The music is difficult (it's not just hard, it's damn hard, or in Maine, wickid had), not tonal in the traditional diatonic sense ("tonal" is an imprecise word, and in many senses, my music IS tonal -- it has also been called "atonal" "with more tonal centers that you used to have" "sounds like it's in a minor key" "pretty" and "unremarkable"), and somewhat traditionally structured -- and it has lots and lotsa notes. People who use language imprecisely call the music "Modernist." Others have called it "Romantic", "total rockout" and "borderline Neoclassical". Go figure. I live in Massachusetts and Maine with my wife Beth, and we own two red canoes. Both of us grew up in Vermont near Lake Champlain, me in a dairy farming region (where we don't talk about our feelings, we don't talk about how much we make, and the word "cow" has between five and six syllables) and Beth in the ultra-cosmopolitan Burlington. I teach composition and music theory at Brandeis University, and Beth teaches composition, theory and clarinet at the University of Maine in Orono. Thanks to our long-distance marriage, we have two of many things, including cats, houses, mortgages, cars, vacuum cleaners, back yards, refrigerators, garages, lawnmowers, iPods (actually, we have four), back doors, mud rooms, attics, futon couches, driveways, kitchen sinks, basements, washers, dryers, belly buttons, and fingernail clippers. And now, also two canoes (both of them red), thanks to a recent co-inheritance in Vermont. And six computers. And six printers. Including a color laser printer (bitchin). My students, both graduates and undergraduates, have permission to call me Davy, as do my colleagues. I do not know what any of them call me behind my back (this expression would not make sense if I were a mobius strip). Other very good (but strange) friends, and relatives, call me Uncle Davy (note: "Davy" is a four-letter word). Born in Argentina, composer Alejandro Rutty’s output includes orchestral, chamber and mixed-media music, arrangements of Argentine traditional music, and innovative outreach musical projects Rutty’s compositions and arrangements have been played by the Minnesota Symphony Orchestra, National Symphony Orchestra of Argentina, National Symphony Orchestra of Brazil, New Mexico Symphony Orchestra, Linköping Symphony Orchestra, Kiev Philharmonic, the New York New Music Ensemble, the Amherst Saxophone Quartet, and the Cassatt String Quartet among other groups. Recordings of his music have been released by Capstone Records, Arizona University Recordings, and ERM Media Recent events include: the performance of Rutty’s arrangement of Roop Verma’s Concerto for Sitar and orchestra in Linkoping, Sweden, and a concert of the Hey, Mozart New Mexico’s project with the New Mexico Symphony Orchestra Rutty is currently working on an orchestral piece commissioned the MATA Festival. The piece will be performed by the Boston Modern Orchestra Project at the MATA Festival in Boston and New York City in the spring of 2008. Founder and Artistic Director of the Hey, Mozart! project, Rutty's activities include his work as arranger and pianist for Lorena Guillén's Argentine-Tango performances. He has been Co- Director of the Hartwick College Summer Music Festival and founder of the ensemble Lake Affect, a group dedicated to interdisciplinary work with poets. Alejandro Rutty is currently Assistant Professor of Music at the University of North Carolina at Greensboro. L’accordeoniste, for oboe, clarinet, alto sax, and bassoon is the second life of Witchcraft Recipes #13, for accordion, clarinet, violin, and cello. The piece, originally composed for a group including Bulgarian accordionist Peter Stan, is a view of music of the Balkans as seen from South America. In the piece, imperfect imitations of the idiosyncrasies of gypsy accordion playing with South American accent meets a tourist fantasy about gypsy weddings. The metaphor of the wedding guides the structure of the piece, and it includes a band with an accordionist, dance, abundant drink, and the collapse of the tent ruining the food, but not the party. Witchcraft Recipes #13 was never performed. This version of the piece was written for Eastwind and it is called L’accordeoniste in reference both to the imagined and to the real accordion player, while making a reference to a well-known old French song. Vamoalzamendi 2, for soprano and electronic media, is a piece which works on three referential layers. The first layer is a re-telling of a traditional Argentine urban folk tale, which could be summarized as: “A man who, after having a coffee to dispel the sleepiness of a Sunday afternoon, heads to the race track, bets on the wrong horse and returns home on foot, as he has lost even the money for the bus fare. As he walks unconcerned –he may have better luck next time-, he whistles an old song” The second layer is the exploration of natural curves. In this piece, the natural curves are reflected by recordings of actual events with natural dynamic processes such as a coffee machine and the sounds surrounding a horse race. The third layer is that represented by the live voice, which attempts to navigate both the literary and the sonic aspect of the piece. The vocal part has been composed in collaboration with soprano Lorena Guillén. Avant-garde composer and pianist Frederic Rzewski studied with many of the best-known names in 20th century music: Randall Thompson, Walter Piston, Roger Sessions, Milton Babbitt, Luigi Dallapiccola, and Elliott Carter. Rzewski studied at Harvard and Princeton and taught at schools including the Royal Conservatory of Music at Liege and Yale. He was awarded a Fulbright Fellowship in 1960 and co-founded Musica Elettronica Viva in Rome in 1966. Amy Scurria holds a Masters in Music Composition from the Peabody Conservatory at Johns Hopkins University where she studied with Robert Sirota and Chen Yi, and a Bachelors in Music Composition from The Shepherd School of Music at Rice University in Houston, TX. She has also studied composition at La Schola Cantorum in Paris, France with Samuel Adler, Philip Lasser and Narcis Bonet, the Aspen Music Festival, and the Westminster Choir College summer composition program. She is currently a Music Composition PhD candidate at Duke University. Having had her first commission in 1994, Ms Scurria has since been commissioned by such groups as the Philadelphia Orchestra and the Minnesota Orchestra (co-commission), the Fort Wayne Philharmonic, the Vermont Youth Orchestra, Shepherd College in WV, SHE (an a cappella women's choir in NYC dedicated to raising money for NYC charities through music), and the Bryn Mawr (PA) Presbyterian Church, as well as others. Amy Scurria became one of the youngest composers published by Theodore Presser Company. Her music is also now published by Adamo Press. Her music has been heard throughout the United States, Brazil, Portugal, Spain, France, England, and Japan. Her honors and awards have included eight consecutive ASCAPlus Awards, the 1998 Winner of the Haddonfield Young Composers' Competition, and 1991 Winner of the Northern Virginia Composition Competition. Her music has been aired on WCVT, Burlington, VT, WPRB, Princeton, NJ, and Kohlrobi Classics, 90.7 FM, CA. Internet features have included New Music Box, Piano Lane, and Classical Net Review. Ms Scurria is affiliated with ASCAP, Theodore Presser Company, Adamo Press, CPCC, American Composers Forum, and NACUSA. Ms. Scurria believes that "Music is a powerful and unusual language that, when spoken well, can reach the deepest part of the human spirit." Commissioned by the Bryn Mawr Presbyterian Church, Hagar's Prayer is dedicated "To those who died on September 11th, 2001 and for continued dialogue between Christians and those of other faiths." The text is by Margaret Holley. "And God opened her eyes, And she saw a well of water; And she went and filled the bottle With water, and gave the lad a drink." Genesis 21:19 Hagar's Prayer is derived from a story in Genesis. Hagar was the servant girl of Abraham and Sarah. Abraham and Sarah tried to have children for many years without success. In their impatience, Sarah commanded Hagar to sleep with her husband Abraham. Hagar became pregnant and bore a son named Ishmael, which means "God hears." (Sarah later bore a son and they named him Isaac). Sarah, out of jealousy, mistreated Hagar after the birth of Ishmael until Hagar fled into the desert with her son. The text of this piece is written from the standpoint of Hagar as she struggles to care for her son and keep both of them alive. Abraham had two sons, Ishmael (by Hagar) and Isaac (by Sarah). Ishmael became the grandfather of the Arab nation, and Isaac became the grandfather of the Jewish nation. Christ was born of the Jews and was descended from Isaac. Muhammad, the prophet of the Muslim faith, was born of the Arabs and was descended from Ishmael. This work is intended as a reminder that though we may believe that differing faiths set us apart, we are much more like brothers and sisters than we may realize. Called "marvelously inventive" by the Washington Post and "exuberant and captivating" by the San Francisco Chronicle, Judith Shatin's music reflects her adventures as a timbral explorer. Her inspirations range from myth and poetry to the calls of the animals around us and the sounding universe beyond. Her music is internationally performed and has been featured at festivals including the Aspen, BAM Next Wave, Grand Teton, Havana in Spring, Moscow Autumn, Seal Bay, Ukraine and West Cork. Orchestras that have performed her music include the Denver, Houston, Illinois, Knoxville, Minnesota, National and Richmond Symphonies. Shatin's music can be heard on the Centaur, Neuma, New World and Sonora labels. It has been commissioned by groups including the Ash Lawn Opera, Barlow Foundation, Core Ensemble, Garth Newel Chamber Players, Kronos Quartet, Music-at-LaGesse Foundation, National Symphony, newEar, Hexagon Ensemble, Virginia Chamber Orchestra and Wintergreen Performing Arts, the last through Americans for the Arts. Educated at Douglass College (AB), The Juilliard School (MM) and Princeton University (PhD), Judith Shatin is currently William R. Kenan, Jr. Professor and Director of the Virginia Center for Computer Music, which she founded at the University of Virginia. Additional studies included two summers as a Crofts Composition Fellow at Tanglewood, as well as studies at the Aspen Music Festival. Now an advocate for her fellow composers, she has served on the boards of the American Composers Alliance, the League/ISCM, and the International Alliance for Women in Music (IAWM). She also served as President of American Women Composers, Inc. (1989-93). Shatin has been honored with four National Endowment for the Arts Fellowships, as well as awards from the American Music Center, Meet the Composer, the New Jersey State Arts Council and the Virginia Commission for the Arts. A two-year retrospective of her music, and the commission for her folk oratorio, COAL, was sponsored by the Lila Wallace-Readers Digest Arts Partners Program. She has held residencies at Bellagio (Italy), Brahmshaus (Germany), La Cité des Arts (France), Mishkan Amanim (Israel) and in the US at MacDowell, the Virginia Center for the Creative Arts, and Yaddo. Shatin's music is published by Wendigo Music, distributed by MMB Music Inc.; and by Arsis Press, C.F. Peters, Colla Voce and Hal Leonard. Penelope’s Song is a tribute to Penelope, Queen of Carthage and wife of Odysseus. It was inspired by Homer’s epic, the Odyssey, which tells of the travails of Odysseus, but reflects Penelope’s point of view. Ulysses was away from home for twenty years, first at war in Troy and then, due to the sea-god Poseidon’s wrath, for ten more years. The story also tells of Penelope, left waiting for him for all that time, and of the many suitors, filled with greed and arrogance, who tried to woo her in order to become king. To stave them off she devised many excuses. In one, she said she would take no suitor until she finished weaving a shroud for her husband’s aged father, Laertes. But, since she unraveled at night what she wove by day, she made no progress. Instead, she actively waited for Ulysses’ return. This piece sings of her adventures. The electronics were created from a recording of a local weaver working on wooden looms. I processed and shaped these materials, weaving a new sonic fabric. The original version was composed for violist Rozanna Weinberger. Subsequent versions were created for violin, cello and clarinet. This version, for soprano saxophone, was commissioned by and is dedicated to Susan Fancher. In addition to the musical elements, an animation was created for Penelope's Song by artists Kathy Aoki and Marco Marquez. They used a combination of digital painting, 3- d modeling/animation, and digital video to achieve the final result. They thought of the piece in three movements. The first is realized as a building up of the cloth/threads, with a feeling of weight and impending danger or pressure. The second was interpreted as a night scene, wherein Penelope ponders her position and surreptitiously unravels the weavings. The last movement is a visual refrain, based on the first, but with more dramatic and decisive motions. While the piece can be performed with or without the video, I am delighted by their work, and urge that the piece be performed with DVD. From the Animators: This animation, inspired by the weaving sounds of Judith Shatin's Penelope's Song, is our first collaborative effort. The creative process began with interpretive analysis of the electronic music. The weaving notion and the loom recordings became very important for both the images and their rhythmic motion. We also discussed our understanding of Penelope's onus (weaving and unraveling her work as she fends off the suitors while waiting for Ulysses to return) in relation to Shatin's music. We used a combination of digital painting, 3-d modeling/animation, and digital video to achieve the final animation. Throughout the process, we consulted with Shatin about her visual expectations. We thought of the piece in three movements. The first is realized as a building up of the cloth/threads, with a feeling of weight and impending danger or pressure. The second was interpreted as a night scene, wherein Penelope ponders her position and surreptitiously unravels the weavings. The last movement is a visual refrain based on the first, with more dramatic and decisive motions. Devoted to sound and structure, Braxton Sherouse is equal parts composer and code junky. His music has been recognized by the New York Art Ensemble and has been performed on the Florida Electroacoustic Music Festival. He has participated in David Cope's Workshop on Algorithmic Computer Music and numerous music and programming conferences. Most recently, he created a DAW-style audio environment featuring controller lane manipulation of audio objects, hardware-accelerated video integration, and support for high sampling rates and channel counts. Mentored by Mark Engebretson and Alejandro Rutty, Sherouse will receive his Bachelor's degree in Music Composition from UNC Greensboro this December. Regulated Action is a set of bite-sized process pieces for solo piano. Each movement presents self-revealing structures, auditory milestones, rule-based pitch content, and a pinch of funk. A number of diverse compositional methods were used to vitalize (or perhaps regulate) the basic musical materials in each movement: intuition, software, coffee, stochastic motion, logarithm charts, more coffee, and so on. As a whole, the work explores the physical nature of piano performance, the instrument's construction, structural clarity, and "groove." Morton Subotnick is one of the pioneers in the development of electronic music and an innovator in works involving instruments and other media, including interactive computer music systems. The work which brought Subotnick celebrity was Silver Apples of the Moon [1966- 7], was commissioned by Nonesuch Records, marking the first time an original large-scale composition had been created specifically for the disc medium - a conscious acknowledgment that the home stereo system constituted a present-day form of chamber music. He is also pioneering works to offer musical creative tools to young children. He is the author of a series of CDROMS for children, a children’s website [www.creatingmusic.com] and developing a program for classroom and after school programs that will soon become available internationally. He tours extensively throughout the U.S. and Europe as a lecturer and composer/performer. The title, In Two Worlds, refers both to the duality of the media (computer and traditional instrument) and to the synthesis of the musical materials, which consists of recent and more modal concepts of music language. The 18-minute work is in one movement, with sections titled "alone-rushing-celebration-cadenza-alone-combat dance." Subotnick's aim with the electronics was to find a way to blend the live performer with the technology, with the technology responding to the performer. This new version, created in 2007 by Jeff Heisler and Mark Bunce of Bowling Green State University in collaboration with Morton Subotnick, uses Max/MSP, making the electronics portion of the work significantly more portable than the original technical setup of 1987. Fuminori Tanada was born in Okayama in 1961 and studied composition from 1979 until 1983 at the National University of Art and Music in Tokyo, notably with Yoshio Hachimura. He continued his studies at the Conservatoire Natronal Superieur de Musique in Palis where he received first prizes for composition, orchestration and accompaniment. He is the pianist of the contemporary music group Ensemble Itinéraire for whom he has also composed. In Mysterious Morning III I wished to create a state of sonic instability by means of extremely virtuoso writing, with various playing techniques such as bisbigliando, irregular trills, glissandi, sounds sung and played simultaneously, and micro-intervals; this instability is an image of man quivering with madness, a madness that he attempts to conceal within himself; my wish was that the piece should sound like an improvisation. Rodney Waschka II, composer, is best known for his algorithmic compositions, intermedia pieces, as well as music for traditional ensembles. His works often include electronic computer music or other media: visuals, theater, poetry. His music has been performed throughout the United States, in Canada, Mexico, Russia, England, Scotland, Ireland, Spain, Portugal, Germany, The Netherlands, Switzerland, Belgium, Yugoslavia, Bulgaria, Norway, Japan, China, Argentina, Columbia, Puerto Rico, Jamaica, Israel, South Africa, and elsewhere. Important festivals and concert halls where his works have been performed include the International Computer Music Conference, the Society for Electro-Acoustic Music in the US festival, the World Saxophone Congress in Montreal, Merkin Concert Hall in New York, the Sheremetev Palace in St. Petersburg, Russia, the International Review of Composers in Belgrade, the Purcell Room in London, the Museo Reina Sofia in Madrid and many others. Composition, performances, and recordings of Waschka's works have been supported by the North Carolina Arts Council, The National Endowment for the Arts (USA), Meet The Composer, the Fundacion Valparaiso (Spain), the Texas Composers' Forum, the Center for Experimental Music and Intermedia, Northern Illinois University, North Carolina State University, and others. Waschka's works are recorded on the Capstone, IRIDA, Centaur, and AUR labels (USA), Ama Romanta and Plancton labels (Portugal), and the PeP label (Canada). His music is published by Borik Press (Raleigh) and American Composers Editions (New York City). Waschka's teachers Larry Austin, Thomas Clark, Paul Berg, Clarence Barlow, George Lewis, Charles Dodge, Robert Ashley, and Joel Ryan. When I was asked by Karen Moorman to write a flute/oboe/piano trio especially for a young audience (of all ages), I thought of a number of old Russian folk tales as possible plot lines. I consulted with our children, Andre (then 13 years old) and Lana (9 years old at that time). Their favorite was The Good Luck and the Bad Luck, so I set about rewriting the story and retelling it in music. Of course, I changed things to accommodate a trio of story tellers, time constraints, and my own sense of the English language. The premiere was given on 21 September 2004 as part of the Arts NOW Series in Raleigh, performed by members of the Mallarme Chamber Players, Anna Ludwig Wilson, flutist, Bo Newsome, oboist, and Greg McCallum, pianist. The work is dedicated to Andre Kurepa Waschka and Lana Kurepa Waschka. PERFORMERS Wayne Bennett holds a Bachelor's degree in Music Education from the University of Georgia and a Master's degree in Performance from the University of North Carolina at Greensboro. Mr. Bennett is currently pursuing a DMA in Performance at UNCG, where he has also taught Music Theory. His primary trumpet teachers include Michael Stroeher, Randy Sorensen, Fred Mills and Edward Bach. Mr. Bennett is currently the Trumpet/Brass Instructor at the Music Academy of North Carolina in Greensboro. He has performed with organizations in Georgia, South Carolina, Colorado, and North Carolina, including the Georgia Brass, the Classic City Opera, the Western Piedmont Symphony Orchestra, the Hickory Choral Society, the Greensboro Opera Company, the Fibonacci Chamber Orchestra, and Market Street Brass. Mr. Bennett was a semi-finalist in the Masters Solo Division of the National Trumpet Competition in 2004, 2005, 2006, and 2007. He currently resides in Greensboro, NC with his wife, Elizabeth. Mary Ashley Barret is the Oboe Professor at the University of North Carolina at Greensboro and has been on the faculty since 1998. A native of North Carolina, she holds the principal oboe position with the Greensboro Symphony Orchestra in addition to being a frequent performer throughout the southeastern USA. She has appeared as soloist with the Salisbury Symphony, the Florida State Wind Orchestra, the UNCG Orchestra, the Pottstown Symphony Orchestra, and has presented numerous guest recitals and master classes throughout the United States, Caribbean, Central America, Canada, New Zealand and Australia . An avid champion of the chamber ensemble, Barret performs regularly with the Cascade Wind Quintet, the EastWind Trio d’Anches, TreVent and has spent several summers playing chamber music in the Adirondacks of New York. In 2003, Barret was co-host for the International Double Reed Society’s 32nd annual Conference. Most recently, in 2005, the EastWind Trio d’Anches made their Carnegie-Hall debut. Barret's degrees include the Doctor of Music from Florida State University, the Master of Music from Baylor University, and the Bachelor of Music from the Eastman School of Music. She can be heard on Live from Luzerne recordings with the Luzerne Chamber Players (NY), Out of the Woods , French reed trio music with TreVent, The Russian Clarinet (with EastWind Trio d’Anches) and Chamber Music of Samuel Coleridge-Taylor (pub. by Centaur Records). Barret is an artist/clinician for Buffet-Crampon. Kelly Burke joined the faculty at the University of North Carolina at Greensboro in 1989. She is currently the principal clarinetist of the Greensboro Symphony Orchestra and bass clarinetist of the Eastern Music Festival Orchestra. Equally at home playing Baroque to Bebop, she has appeared in recitals and as a soloist with symphony orchestras throughout the United States, Canada, Germany, New Zealand, Australia, and Russia. An avid chamber musician, Burke is frequently heard in concert with the Mallarmé Chamber Players, for whom she plays both clarinet and bass clarinet, the East Wind Trio d'Anches, Middle Voices (clarinet, viola and piano), and the Cascade Wind Quintet. Burke's discography includes several recent releases with Centaur Records: The Russian Clarinet, with works by Prokofiev, Shostakovich, Glinka, Melkikh, and Goedicke; Middle Voices: Chamber Music for Clarinet and Viola, featuring works by several American composers; and Samuel Coleridge-Taylor: Chamber Music featuring the quintet and nonet. She has also recorded for Telarc, Albany and Arabesque labels. Burke has received several teaching awards, including UNCG's Alumni Teaching Excellence Award, the School of Music Outstanding Teacher Award, has been named several times to Who's Who Among America's Teachers, and was recently honored with the 2004 UNC Board of Governor's Teaching Excellence Award. She is the author of numerous pedagogical articles and the critically acclaimed book Clarinet Warm-Ups: Materials for the Contemporary Clarinetist. She holds the BM and MM degrees from the Eastman School of Music and the DMA. from the University of Michigan. Burke is an artist/clinician for Rico International and Buffet Clarinets. Michael Burns holds the BM degree from the Victoria University of Wellington, New Zealand, the MM from the New England Conservatory, and the DMA from the University of Cincinnati College-Conservatory of Music. Burns has performed in numerous professional orchestras including the Cincinnati and the New Zealand Symphonies and played Principal in the Midland/Odessa, Richmond and Abilene Symphonies; and the Cincinnati Chamber Orchestra. Prior to UNCG he taught at the Cincinnati College-Conservatory, Indiana State University, and Midland College. He remains active as a solo and chamber performer with numerous performances at International Double Reed Society conventions, recitals and master classes throughout North America and the South Pacific, and is bassoonist in the EastWind Ensemble and the Cascade Quintet. He has recorded for the Centaur, CAP, Telarc, EMI, Klavier, and Mark labels. In summers, Burns is associated with the Eastern Music Festival and the Bands of America Summer Symposium. He is also an active composer with many of his pieces being published by BOCAL Music and frequently performed. His mentors include William Winstead, Sherman Walt, Leonard Sharrow, and Colin Hemmingsen. He is archivist for the International Double Reed Society and was co-host for the IDRS 2003 Conference in Greensboro, NC. Burns is a Yamaha Performing Artist. Amy Briggs Dissanayake has established herself as a leading interpreter of the music of living composers, while also bringing a fresh perspective to music of the past. She recorded two volumes of David Rakowski’s Piano Etudes on Bridge Records to much critical acclaim. Based in Chicago, she is a featured soloist and chamber musician on the Chicago Symphony Orchestra’s MusicNOW series, where she has worked with composers such as Simon Bainbridge, Pierre Boulez, Oliver Knussen, David Lang, Tania Léon, Esa-Pekka Salonen, and Augusta Read Thomas. In the 2005-2006 season, she premiered Knussen’s A Fragment from Ophelia’s Last Dance for solo piano. She was awarded a stipend prize at the 2000 Darmstadt Internationale Fereinkurse für Neue Musik. The Chicago Tribune has called “extraordinary” Dissanayake’s “mastery of what lay on the dense, printed page and beyond,” and the Chicago Sun-Times called her a “ferociously talented pianist.” Classics Today said of volume one of the Rakowski Etudes project, “Dissanayake does a splendid job projecting the music's wit, and her unflappable virtuosity makes even the densest writing sound effortless... a marvelous disc that piano fanciers should snap up without hesitation.” In addition, the New York Times praised her recent recording of Augusta Read Thomas’s six Piano Etudes as “elegant” and “precisely shaded.” Dissanayake has appeared as a soloist and chamber musician in the United States, Europe, Asia and Africa. In 1993, she was selected by the United States Information Agency to tour Africa and South Asia as a United States Artistic Ambassador. Her highly acclaimed concerts combined traditional repertoire with contemporary American music. Today, her recital programs connect composers from all eras and nationalities. She has performed with the Callisto Ensemble, the Chicago Contemporary Players, Chicago Pro Musica, the Chicago Chamber Musicians, Klang, and the Empyrean Ensemble, and as an extra keyboardist with the Chicago Symphony Orchestra. She has also been a prizewinner in the Joanna Hodges International Piano Competition and the Frinna Awerbuch International Piano Competition. Amy Briggs Dissanayake has appeared as soloist with the Chicago Chamber Orchestra, New Hampshire Philharmonic, and the Symphony Orchestra of Sri Lanka, among others, and her live and recorded performances have been featured on radio stations around the United States and Europe. Recent performances include the Rock Hotel Piano Festival in New York City, the world premiere of Jeffrey Mumford’s new piano quintet with the Pacifica Quartet, a residency at the Atlantic Center for the Arts, the Wittener Tage für neue Kammermusik, and solo recitals in the People’s Republic of China. Recordings soon to be released include a disc of 20th and 21st century tangos for solo piano, a concerto for piano and wind ensemble of George Flynn on Southport Records, and chamber music recordings of Conlon Nancarrow and Erik Oña for Wergo. Upcoming engagements include a performance with Ursula Oppens and the Mark Morris Dance Company at the Ravinia Festival, as well as solo recitals at Symphony Space in New York City and an appearance on the Keys to the Future Piano Festival in New York City. A graduate of Skidmore College and DePaul University, Ms. Dissanayake studied with Ursula Oppens at Northwestern University, where she earned her Doctor of Musical Arts degree in Piano Performance. She is a Steinway Artist. Susan Fancher’s career has featured hundreds of concerts internationally as a soloist and as the member of chamber music ensembles, including the Red Clay, Amherst, Vienna and Rollin’ Phones saxophone quartets. Her work to develop the repertoire for the saxophone has produced dozens of commissioned works by contemporary composers, as well as published transcriptions of music by composers as diverse as Josquin Desprez and Steve Reich. A much sought-after performer of new music, she has worked with a multitude of composers including Terry Riley, Charles Wuorinen, Philip Glass, Hilary Tann, Friedrich Cerha, Ben Johnston, M. William Karlins, Stuart Saunders Smith, Perry Goldstein, Olga Neuwirth, Judith Shatin, David Stock, Michael Torke, Ed Campion and Robert Carl, just to name a few, and has performed in many of the world’s leading concert venues and contemporary music festivals. Her discography includes a solo CD entitled Ponder Nothing on the Innova label and a recording on New World Records of Forever Escher by Paul Chihara. Susan Fancher is a regularly featured columnist for the nationally distributed Saxophone Journal and an artist for the Selmer and Vandoren companies. Samee Griffith is a DMA student in the piano performance program at UNCG and is currently studying with Dr. John Salmon. She holds a BM from Wright State University in piano performance and a MM from Bowling Green State University in piano performance and collaborative piano. While at BGSU, Samee had the opportunity to perform with the university choirs and premiere several choral works by jazz legend Dave Brubeck. The Washington-Post has described Lorena Guillén as a “delicate soprano” and praised her ”...polish performance of ...French cabaret song...(and her)...total mastery of the difficult Sprechtstimme...” She studied at the National Conservatory of Music in Argentina and holds a MM in Vocal Performance and a Ph.D. in Musicology from SUNY at Buffalo. Guillén has received scholarships from the Britten-Pears Institute (England), and worked closely to Karlheinz Stockhausen in Germany, later touring with his Indianerlieder around US, Canada and Argentina. As an active performer of contemporary music, she has appeared in venues such as: Chautauqua Institution, “New Music New Haven” of Yale University, June in Buffalo Festival, Museo Fernandez Blanco, Music Gallery at Toronto (Canada), Contemporary Music Festival UNCG, Catskills Choral Society, Washington’s Shakespeare Theater with Music Aperta. She has recorded for University of Arizona Recordings and Innova Records. A founding member of the word/music experimental group Lake Affect (1999-2002), for the past four years, she has been a regular soloist of the multidisciplinary concerts of the ensemble Musica Aperta in Washington DC. Her research interests encompass issues of text perception in vocal music with special emphasis in repertoire of the 20th and 21st centuries and Latin American popular music, presenting papers on these topics at IASPM-Latin America (Mexico 2002 and Brazil 2004), College Music Society, UNCG Greensboro, Universidad Nacional de San Juan (Argentina), Bates College (IN), and the American Institute of Graphic Art (Boston, USA). This Fall 2007, she has joined the music history faculty at UNCG Greensboro. Active as an oboe soloist, chamber, and orchestra musician, Thomas Pappas has performed throughout the United States, Germany, Hungary, the Czech Republic, and Wales. Recent solo appearances include performances of oboe concertos in Greensboro, NC and with the Aalen Symphony Orchestra in Germany, where he grew up and first learned how to play the oboe. Earlier this year Pappas was a featured soloist on the annual computer music concert XMUSE at the University of South Carolina. He enjoys performing new music and has premiered several works, including ones written for him by his brother Daniel. Pappas holds the BA degree from Grace College, IN, the MM from the University of North Carolina at Greensboro, and is currently working on the DMA at UNCG with Dr. Mary Ashley Barret. Cellist Gina Pezzoli is a member of the Greensboro Symphony Orchestra and the Fibonacci Chamber Orchestra. She maintains her own private studio and frequently performs as a substitute with the North Carolina Symphony, the Winston-Salem Symphony, and the Carolina Ballet. For the past three holiday seasons she has been a member of the ensemble-in-residence at the Homestead Resort in Hot Springs, VA. She is currently pursuing her DMA in Cello Performance at the University of North Carolina - Greensboro. She holds the MM in Cello Performance from UNCG and the BA in French and Music from the University of Virginia. Scott Rawls has appeared as soloist and chamber musician in the United States, Canada, Mexico, Japan, and Europe. Chamber music endeavors include performances with the Diaz Trio, Kandinsky Trio and Ciompi Quartet as well as with members of the Cleveland, Audubon and Cassatt String Quartets. His most recent CD recording, released on the Centaur label, features the chamber music of Samuel Coleridge-Taylor and was released summer 2004. His recording of chamber works for viola and clarinet was released spring 2003 on the same label. The ensemble, Middle Voices, will record another disc for Centaur featuring the chamber music of American composer, Eddie Bass. Additional chamber music recordings can be heard on the CRI, Nonesuch, Capstone, and Philips labels. Also a champion of new music, Rawls has toured extensively as a member of Steve Reich and Musicians since 1991. As the violist in this ensemble, he has performed the numerous premieres of The Cave and Three Tales, multimedia operas by Steve Reich and Beryl Korot, videographer. And under the auspices of presenting organizations such as the Wiener Festwochen, Festival d'Automne a Paris, Holland Festival, Berlin Festival, Spoleto Festival USA and the Lincoln Center Festival, he has performed in major music centers around the world including London, Vienna, Rome, Milan, Tokyo, Prague, Amsterdam, Brussels, Los Angeles, Chicago and New York. He is a founding member of the Locrian Chamber Players, a New York City based group dedicated to performing new music. Dr. Rawls currently serves as Associate Professor of Viola and Chair of the Instrumental Division in the School of Music at the University of North Carolina at Greensboro. Under the baton of maestro Dmitry Sitkovetsky, he plays principal viola in the Greensboro Symphony Orchestra. He is very active as guest clinician, adjudicator, and master class teacher at universities and festivals in America and Europe. During the summers, Rawls plays principal viola in the festival orchestra at Brevard Music Center where he also coordinates the viola program. He holds a BM degree from Indiana University and a MM and DMA from State University of New York at Stony Brook. His major mentors include Abraham Skernick, Georges Janzer, and John Graham. Ralph Wayne Reich, Jr. received his BM from the University of North Carolina at Greensboro and his MM from Syracuse University. He is currently pursuing his DMA having returned to UNCG. As an undergraduate, Reich was a member of the Gate City Camerata and the Contemporary Chamber Players. At Syracuse University, Reich served as Concertmaster of the University Symphony Orchestra and co-founded the Syrus Chamber Musician ensemble. Reich has taught violin lessons at SU, serving as an Affiliate Artist. He is a current faculty member at the Music Academy of North Carolina and performs regularly in the Triad area as a member of the Fibonacci Chamber Orchestra, the Salisbury Symphony, and as a freelance musician. Steve Stusek has earned an international reputation for virtuosic performances of standard and new works for the saxophone as well as for his engaging master classes and clinics. A founding member of both the acclaimed Red Clay Sax Quartet and the UNCG Quatuor d’Anches, he has won the prestigious Dutch Chamber Music Competition as part of the saxophone-accordion duo 2Track with Dutch accordion player Otine van Erp. Along with degrees from Indiana University (BM, DM) and Arizona State University (MM), Stusek has studied at the Paris Conservatoire and the Conservatoire de la Region de Paris, where he earned the Prix d'Or à l'Unanimité in saxophone performance. He is also founder and host of the Carolina Saxophone Symposium, a day-long conference held at UNCG each Fall, and dedicated to the highest level of saxophone performance and education. The CSS is open to all saxophonists at no charge. In addition to being performing artist for the Vandoren and Selmer companies, Stusek is on the faculty of the Blue Lake Fine Arts Academy. Anthony Taylor joined the UNCG School of Music faculty in 2007, and was also recently appointed as Principal Clarinet of the Winston-Salem Symphony. He is also an active solo, chamber, and jazz musician. This fall, he presented a paper on his research into John Adams’s clarinet concerto Gnarly Buttons in Bangor, Wales at the International Conference on Music and Minimalism. Recent performance highlights include the world premiere of Seattle composer Gail Gross’s Bossa Velha at the Washington State Music Teacher’s Association convention, solo performances with jazz piano master Dick Hyman, and the world premiere recording of Gregory Yasinitsky’s solo clarinet work For All That Has Been Given. He has been a member of the Spokane Symphony, the Boise Philharmonic, Spokane Opera and professional contemporary music ensemble Zephyr. He has been on the faculties of Washington State University, Eastern Washington University, Whitman College and Gonzaga University. Each August, Taylor also teaches at the Midsummer Musical Retreat, a week-long camp for adult amateur musicians. In summer 2007, he completed his doctorate at the University of Cincinnati College-Conservatory of Music, and also holds degrees from The Florida State University and Washington State University. Sarah Love Taylor, mezzo-soprano, graduated Phi Beta Kappa from the University of North Carolina at Chapel Hill with a Bachelor of Music in Vocal Performance and a second major in French. She took First Place in the 2007 NC National Association of Teachers of Singing auditions, where she also was awarded the Cate Continuing Education Scholarship. While at Carolina, she studied voice with Dr. Terry Rhodes and sang with the UNC Chamber Singers under the direction of Susan Klebanow. She currently studies voice with Dr. Elizabeth Linnartz and is employed as Program Associate with the NC Community Foundation in Raleigh. Ms. Taylor lives in Durham with her husband David and her cat Hobbes. The UNCG Contemporary Century Chamber Players specializes in contemporary literature for both instrumental and vocal chamber forces. Advanced students and faculty often perform side-by-side in concerts that cover a broad gamut of styles and traditionally feature at least one work by a North Carolina composer. The Players, who have appeared in such venues as Raleigh's North Carolina Museum of Art, have received several grants and have welcomed such distinguished composers as Thea Musgrave, Emma Lou Diemer, George Rochberg, Robert Ward and Michael Colgrass to campus. During the 1990s, the players performed by invitation at the world conference of the International Society for Music Education. The leadership of CCP is comprised of Mark Engebretson, Robert Gutter and Alejandro Rutty. Welborn E. Young, Director of Choral Activities and Associate Professor of Music, holds a BME degree and a MA in Conducting degree from Middle Tennessee State University and a DMA in choral conducting from the University of Illinois at Urbana-Champaign. Dr. Young teaches undergraduate and graduate conducting, graduate seminars in choral repertoire, German diction, and conducts the Women's Choir and Chamber Singers. In addition, Dr. Young is the Conductor of the Choral Society of Greensboro. He has served as guest conductor and clinician in festivals and clinics in North Carolina, Tennessee, Virginia, South Carolina, Washington D.C., Illinois, and Washington. Recently, His choirs have toured Austria, the Czech-Republic, Hungary, Italy, and England. He is the former Artistic Director and Conductor for Windy City Performing Arts, Inc. in Chicago. These ensembles received enthusiastic reviews in such papers the Chicago Sun Times, Chicago Tribune, and the Windy City Times. In the summer of 1998, Dr. Young was a featured festival conductor at the Concertgebouw in Amsterdam, Netherlands. That same summer he was guest conductor of Chicago's Grant Park Symphony Chorus and assisted with the preparation of their first recording. He has prepared and conducted the Nashville Symphony Chorus and appeared as guest conductor with the Nashville Opera Association. Ināra Zandmane, born in the capital of Latvia, Rîga, started to play the piano at the age of six. Zandmane holds a BM and MM from Latvian Academy of Music, MM in piano performance from Southern Illinois University at Carbondale, and DMA in piano performance from the University of Missouri at Kansas City. She has been the staff accompanist at the UNCG since 2003. She also served as the official accompanist for the MTNA Southern Division competition and the North American Saxophone Alliance conference in 2004. Zandmane has performed in recitals in St. Paul, Kansas City, Cleveland, St. Louis, and New York, as well as in many Republics of the former Soviet Union. In April 2000, she was invited to perform at the Glenn Gould Studio in Toronto. Ināra Zandmane has appeared as a soloist with the Latvian National Orchestra, Liepaja Symphony, Latvian Academy of Music Student Orchestra, SIU Symphony, and UMKC Conservatory Symphony and Chamber orchestras. She has performed with various chamber ensembles at the International Chamber Music Festivals in Riga, Vilnius, Tallinn, Helsinki (Finland), and Norrtelje (Sweden). For a few last years, Zandmane has worked together with the Latvian composer Peteris Vasks. She has given Latvian premieres of his two latest piano pieces, Landscapes of the Burnt-out Earth and The Spring Music, and recorded the first of them on the Conifer Classics label. |
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